Open Access Version Via Utrecht University Repository

Total Page:16

File Type:pdf, Size:1020Kb

Open Access Version Via Utrecht University Repository Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. 54 1.4. Netherlandish paintings versus the rest of the collection and a summary p. 56 2. Stanisław August and the formation of his collection 2.1. Introduction p. 59 2.2. The personality of Stanisław August p. 60 2.2.1. Early education and political career before 1764 p. 60 2.2.2. Stanisław August as a king versus the political situation of the country p. 62 2.2.3. The cultural achievements and the artistic patronage of Stanisław August p. 64 2.3. The formation of the collection of Netherlandish paintings p. 68 2.3.1. The collecting tradition in Poland before the reign of Stanisław August p. 68 2.3.2. The manner of acquisition of Netherlandish paintings by Stanisław August p. 70 2.3.3. The acquisitions by Noel Desenfans p. 78 2.4. Concluding remarks p. 82 2 Philosopher on the throne Magdalena Grądzka 3. Netherlandish paintings in the eighteenth-century European collection 3.1. Introduction p. 83 3.2. Dresden, August II and August III p. 85 3.3. Saint Petersburg and Catherine the Great p. 90 3.4. Concluding remarks p. 95 4. The reception of Netherlandish painting in Poland 4.1. Introduction p. 97 4.2. The king’s appreciation of Dutch and Flemish painting p. 98 4.2.1. Diaries p. 98 4.2.2. Correspondence p. 102 4.2.3. Other writings p. 104 4.2.4. Commissions p. 106 4.2.5. The collections of drawings and engravings of Stanisław August p. 108 4.3. The reception of Netherlandish art of the contemporaries of Stanisław August p. 111 4.3.1. Marcello Bacciarelli p. 111 4.3.2. August Moszyński p. 117 4.3.3. Ignacy Krasicki p. 120 4.3.4. Julian Niemcewicz p. 125 4.3.5. Stanisław Kostka Potocki p. 128 4.3.6. Jean-Pierre Norblin de La Gourdaine p. 133 4.4. Comments by foreigners on Netherlandish painting in Poland p. 136 4.4.1. Fortia de Piles and Boisgelin de Kerdu p. 136 4.4.2. Johann Bernoulli p. 138 4.4.3. Concluding remarks and a summary p. 141 Conclusion p. 145 Bibliography p. 152 Appendix I Illustrations p. 160 List of illustrations with sources p. 220 Appendix II Table 1 – The 1795 catalogue p. 232 Table 2 – Dutch/Flemish/Netherlandish/Uncertain classification p. 255 Table 3 – Genres p. 256 Table 4 – Identified paintings p. 258 Table 5 – Desenfans’ catalogue p. 265 3 Philosopher on the throne Magdalena Grądzka Introduction The majority of artistic life of eighteenth-century Europe can be said to have been oriented towards France and Italy. This trend could also be observed in the Polish- Lithuanian Commonwealth, foremost in the interests of the last Polish king, Stanisław II August (1732-1798, born as Stanisław Antoni Poniatowski).1 In his court he employed both Italian painters, such as Marcello Bacciarelli (1731-1818) and Bernardo Belotto (1720-1780), and French painters, such as Louis Marteau (c. 1715- 1804). Moreover, he gave commissions to French artists, such as Carle van Loo (1705-1765) and Joseph Marie Vien (1716-1809).2 Yet, extant records in his art collection reflect a more varied interest on the part of the king, who seems to have especially enjoyed the works and styles of Netherlandish artists. Because Stanisław August was an elected king, he did not inherit any goods after his Saxon predecessors, August II (1670-1733) and his son August III (1696- 1763).3 The works of art which they had gathered, were considered private properties and transported to Dresden at the end of their reigns. Consequently, when Stanisław August became a king in 1764, he had to form his own collection anew. He must have been very successful, since in 1795, at the end of his reign, he possessed more than 2000 paintings, not to mention numerous miniatures, drawings, prints, sculptures and other art objects. This thesis will focus on Poniatowski’s collection of Netherlandish paintings. It will investigate to what extent Stanisław August’s predilection for Netherlandish painting can be seen as exceptional and whether the concept of a king’s self-fashioning as an Enlightened monarch can be considered a relevant factor explaining this predilection. Already for several centuries collections of art (amongst other objects) had come to be seen as a representation of the wealth, power and even intelligence of its possessor, and a collection was often used as a tool by Europeans to “fashion” one’s reputation or status. Stanisław August’s art collecting and display activity will thus be studied through the context of his early life, political and personal projects as well as his social ties, to understand the role of art in his court. This is especially of interest with regard to works from the Low Countries, which made up a significant part of the collection. Historiography and research motivation Dated 1795, the last royal inventory of paintings lists 2478 objects, of which approximately 347 paintings are currently identified (338 in Polish and foreign museums and the rest most likely in private possession).4 This inventory was 1 H. Gerson, ‘Dispersal and After-Effect of Dutch Painting of the 17th Century: Danzig and Poland’, in: Gerson Digital: Part I – Poland, RKD Monographs, The Hague 2013 (trans. H.J. Horn), unpaged. 2 Gerson 2013, unpaged. 3 D. Juszczak, H. Małachowicz, Galeria obrazów Stanisława Augusta w Łazienkach Królewskich. Katalog, Warszawa 2015, p. 10. 4 H. Małachowicz, ‘Galeria obrazów Stanisława Augusta’, in: A. Sołtys (ed.), Stanisław August – ostatni król Polski: polityk, mecenas, reformator: 1764-1795, exh. cat. Warszawa (Zamek Królewski) 2011, p. 225. At the present day the number of identified paintings from the collection of Stanisław 4 Philosopher on the throne Magdalena Grądzka published in 1932 by a Polish art historian, Tadeusz Mańkowski (1878-1956), in his Galerja Stanisława Augusta.5 Besides the paintings’ catalogue, the book encloses the Catalogue des Miniatures, Peintures à l’Huile en Petit, en Camayeux, à Gouache, en Biscuits, Basreliefs, Cire, Decoupures, Cuivre Doré, Desseins, et Estampes Encadrés 1795 [Catalogue of the Miniatures, Oil Paintings in Miniature, in Monochrome, in Gouache, in Biscuits, Bas-Reliefs, Wax, Fretwork, Gilded Copper, Designs, and Framed Prints 1795] as well as Mańkowski’s essays dealing with, among other topics, the artistic youth of Stanisław August, his cultural mission and relation to the art of painting as well as the formation of his painting gallery and its content. One of the reasons why Mańkowski’s work is so fundamental for further research is the fact that many sources he used were lost during the Second World War and are now no longer accessible. In addition, Mańkowski wrote an important article in 1929, which he devoted to the paintings of Rembrandt from Poniatowski’s collection.6 After the Second World War, it was not until the nineties that the research on the painting collection of Stanisław August was revived and continued. In 1992, an exhibition titled Collection for A King: Old Master Painting from the Dulwich Picture Gallery, curated by the late Giles Waterfield, was held in the Dulwich Picture Gallery in collaboration with the curators of the Royal Castle in Warsaw (currently a museum, formerly the king’s official residence).7 Further important publications include an article written in 1996 by Antoni Ziemba, who dealt with Stanisław August’s admiration for Dutch painting and investigated its role within the royal collection, analysing the amounts, prices, and historical attributions.8 In a 1998 article, Mieczysław Choynowski described the history of Poniatowski’s Picture Gallery, which was a place meant for the exhibition of paintings in the Palace on the Isle (now a museum, but formerly the king’s summer residence).9 In 2007 Ewa Manikowska dealt with the royal collection, presenting the king’s collecting activities in the perspective of eighteenth-century royal court culture which she argued to be the most important August has been certainly amplified. Hanna Małachowicz and Dorota Juszczak are working on a new catalogue comprising all identified paintings from the collection of Stanisław August and it will be published within three years.
Recommended publications
  • SIMON DE VOS (1603 – Antwerp – 1676)
    CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641).
    [Show full text]
  • Suzanne Roslin L’Académie
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition ROSLIN, Mme Alexander, née baron Scheffer, rigsgreve Adam Lewenhaupt, She was the model for her husband’s famous Blondel d’Azincourt (Roslin’s portrait of whom Dame à l’éventail. She was one of only a handful of Jeanne-Suzanne Giroust was in the salon in 1755), Watelet, Coustou, women admitted to the Académie before the Paris 9.III.1734–31.VIII.1772 Vien and his wife, as well as Pierre and his Revolution, agréée and reçue simultaneously in 1770 Suzanne Giroust was the daughter of mother. The bride was given away by her with her portrait of Pigalle, undoubtedly her Barthélemy Giroust ( –1742), joaillier de la grandmother Mme François-Étienne Jacques, masterpiece and particularly praised by the critics garde-robe du roi, and Marie-Suzanne Le Roy ( née Jeanne-Suzanne Le Sourt – a pastel of of the 1771 Salon. Even Horace Walpole, who –1745), his second wife. On the death of her whom may tentatively be attributed to her mostly disliked the Paris salons, acknowledged this father, tuteurs were appointed for Jeanne- charge. Mme Roslin’s grandmother evidently “fine portrait” (it was the only pastel he mentioned Suzanne (the future Mme Roslin, aged 8) and played a major role in raising the orphan, who from the four salons he attended). The pastel her sister Marie-Thérèse (aged 6); as well as for was still living with her at the time of the today remains one of the most striking works in their half-brothers Étienne-Barthélemy and marriage. Jeanne-Suzanne Le Sourt was the Louvre’s collection, much of its distinctiveness Pierre, also minors, the sons of Barthélemy’s previously married to François-Gabriel Le Roy, arising from the dramatic di sotto in sù composition first marriage, to Catherine Regnault.
    [Show full text]
  • The Role of Bohdan Khmelnytskyi and the Kozaks in the Rusin Struggle for Independence from the Polish-Lithuanian Commonwealth: 1648--1649
    University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1967 The role of Bohdan Khmelnytskyi and the Kozaks in the Rusin struggle for independence from the Polish-Lithuanian Commonwealth: 1648--1649. Andrew B. Pernal University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Pernal, Andrew B., "The role of Bohdan Khmelnytskyi and the Kozaks in the Rusin struggle for independence from the Polish-Lithuanian Commonwealth: 1648--1649." (1967). Electronic Theses and Dissertations. 6490. https://scholar.uwindsor.ca/etd/6490 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. THE ROLE OF BOHDAN KHMELNYTSKYI AND OF THE KOZAKS IN THE RUSIN STRUGGLE FOR INDEPENDENCE FROM THE POLISH-LI'THUANIAN COMMONWEALTH: 1648-1649 by A ‘n d r e w B. Pernal, B. A. A Thesis Submitted to the Department of History of the University of Windsor in Partial Fulfillment of the Requirements for the Degree of Master of Arts Faculty of Graduate Studies 1967 Reproduced with permission of the copyright owner.
    [Show full text]
  • Swedish Royal Ancestry Book 4 1751-Present
    GRANHOLM GENEALOGY SWEDISH ANCESTRY Recent Royalty (1751 - Present) INTRODUCTION Our Swedish ancestry is quite comprehensive as it covers a broad range of the history. For simplicity the information has been presented in four different books. Book 1 – Mythical to Viking Era (? – 1250) Book 2 – Folkunga Dynasty (1250 – 1523) Book 3 – Vasa Dynasty (1523 – 1751) Book 4 – Recent Royalty (1751 – Present) Book 4 covers the most recent history including the wars with Russia that eventually led to the loss of Finland to Russia and the emergence of Finland as an independent nation as well as the history of Sweden during World Wars I and II. A list is included showing our relationship with the royal family according to the lineage from Nils Kettilsson Vasa. The relationship with the spouses is also shown although these are from different ancestral lineages. Text is included for those which are highlighted in the list. Lars Granholm, November 2009 Recent Swedish Royalty Relationship to Lars Erik Granholm 1 Adolf Frederick King of Sweden b. 14 May 1710 Gottorp d. 1771 Stockholm (9th cousin, 10 times removed) m . Louisa Ulrika Queen of Sweden b. 24 July 1720 Berlin d. 16 July 1782 Swartsjö ( 2 2 n d c o u s i n , 1 1 times removed) 2 Frederick Adolf Prince of Sweden b. 1750 d. 1803 (10th cousin, 9 times removed) 2 . Sofia Albertina Princess of Sweden b, 1753 d. 1829 (10th cousin, 9 times removed) 2 . Charles XIII King of Sweden b. 1748 d. 1818 (10th cousin, 9 times removed) 2 Gustav III King of Sweden b.
    [Show full text]
  • Proquest Dissertations
    THE RISE OF THE COURTIER-ARTIST: THE POLITICAL CAREERS OF PETER PAUL RUBENS AND DIEGO VELAZQUEZ IN PHILIP IV'S SPAIN A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by NICOLE GRIEVE In partial fulfillment of requirements For the degree of Master of Arts January, 2008 © Nicole Grieve, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-41824-6 Our file Notre reference ISBN: 978-0-494-41824-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Garland of Flowers by Abraham Mignon
    Garland of Flowers by Abraham Mignon Magdalena Kraemer-Noble 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 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 14 and 15 By courtesy of Richard Green, London: fig. 9 By courtesy of Magdalena Kraemer-Noble: figs. 4, 10 and 12 By courtesy of Johnny Van Haeften, London: fig. 8 © Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden / Elke Estel, Hans-Peter Klut: figs. 5 and 6 © Horta Auctioneers, Brussels: fig. 11 © MBA Lyon / Alain Basset: fig. 3 © Museo Nacional del Prado, Madrid: fig. 7 © Royal Cabinet of Paintings Mauritshuis, The Hague: figs. 2 and 13 © Staatliche Kunsthalle Karlsruhe: fig. 16 © Tim Koster, ICN, Rijswijk/Amsterdam: fig. 17 Text published in: B’08 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 4, 2009, pp. 195-237. efore studying the opulent Garland of Flowers [fig. 1] in the Museum’s collection, it would be of prior in- terest to explore the challenging life of the Baroque painter Abraham Mignon who is unknown in Spain Bexcept this still-life in Bilbao.
    [Show full text]
  • 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
    [Show full text]
  • Strengthened Air Defence
    AUGUST 2020. NO 8 (27). NEWS FRENCH TROOPS IN LITHUANIA MARKED BASTILLE DAY NATO'S PRESENCE THE 7TH ROTATION: HANDLING AN UNEXPECTED CRISIS Strengthened air defence ON JULY 28 PRESIDENT OF THE REPUBLIC OF LITHUANIA GITANAS NAUSĖDA WAS ACCOMPANIED BY MINISTER OF NATIONAL DEFENCE RAIMUNDAS KAROBLIS, CHIEF OF THE DEFENCE STAFF OF THE LITHUANIAN ARMED FORCES MAJ GEN GINTAUTAS ZENKEVIČIUS AND COMMANDER OF THE LITHUANIAN AIR FORCE COL DAINIUS GUZAS ON A VISIT TO THE LITHUANIAN AIR FORCE BASE IN ŠIAULIAI TO FAMILIARISE WITH THE AIR DEFENCE CAPABILITIES LITHUANIA HAS AND TO MEET WITH THE SPANISH, BRITISH AND GERMAN AIRMEN CONDUCTING SPECIAL THE CURRENT ROTATION OF THE NATO AIR POLICING MISSION IN THE BALTIC STATES, AS WELL AS U.S. AND LITHUANIAN SOLDIERS. NAPOLEON‘S LITHUANIAN resident was shown the RBS70, tional Exercise Tobruq Legacy 2020 in Sep- FORCES. PART II Stinger, Grom missile air defence tember this autumn. systems operated by the Air Defence NASAMS is the most widely used mid- PBattalion, Sentinel and Giraffe surveillance range air defence system in NATO member radars, and elements of the NASAMS mid- states, and even for guarding the airspace over range air defence system delivered to Lithua- the White House, Washington. Lithuania has nia in June earlier this year. acquired the most recent, third generation, "Arrival of the NASAMS reinforces air NASAMS 3, its current users are still only defence of Lithuania and NATO’s eastern the Lithuanian Armed Forces and the Armed flank, all the components of the integrated Forces of Norway, the manufacturer. defence system are linked together, and The guests also viewed fighter aircraft the deterrence becomes stronger as a result," allies protect the Baltic airspace with: F18 Minister of National Defence R.
    [Show full text]
  • In the Lands of the Romanovs: an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire
    ANTHONY CROSS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of The Russian Empire (1613-1917) OpenBook Publishers To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/268 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross http://www.openbookpublishers.com © 2014 Anthony Cross The text of this book is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Cross, Anthony, In the Land of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917), Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0042 Please see the list of illustrations for attribution relating to individual images. Every effort has been made to identify and contact copyright holders and any omissions or errors will be corrected if notification is made to the publisher. As for the rights of the images from Wikimedia Commons, please refer to the Wikimedia website (for each image, the link to the relevant page can be found in the list of illustrations).
    [Show full text]
  • Jan Lievens (Leiden 1607 – 1674 Amsterdam)
    Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes.
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • Acquisitions for the Reopened Nationalmuseum, Stockholm, 2011
    Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 1 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 2 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 3 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 ork on the newly refurbished Nationalmuseum, was a clear educational and art-historical endeavour in the Museum’s Stockholm, which reopens to the public on 13th acquisitions policy, centred on notions of styles and periods, gradually this October, has built on three simultaneous and faded away in favour of a focus on aesthetic experience alone. The solitary parallel projects: renovation and remodelling of artistic genius was seen as supplying material for a dramatic narrative, Wthe building, a new display of the collection and against a backdrop built increasingly around individual masterpieces. new acquisitions. Alongside transforming the old building into a museum that is tter for purpose and more secure, Sleeper awakened by a young woman with a lit wick, or Il Fumacchio, considerable energy has gone into making the collections more accessible. by Nicolas Régnier. c.1622–25. Canvas, 101 by 133 cm. This has involved both showing well-known works from the collections Gift of the Friends of the Nationalmuseum, 2011. NM 7077. in a new way and rediscovering others that, for one reason or another, had fallen into obscurity. This scene of ribaldry was presumably invented by Régnier, a Franco-Flemish A review of the extensive holdings of the Nationalmuseum highlighted Caravaist. A courtesan plays a prank on a handsome young prodigal who has dozed a number of gaps.
    [Show full text]