ENGRAVINGS, Etchings and MEZZOTINTS

Total Page:16

File Type:pdf, Size:1020Kb

ENGRAVINGS, Etchings and MEZZOTINTS CATALOGLTE I' OF '111,1 ENGRAVINGS,ETChINGS AND MEZZOTINTS, BELONGINGTO JAMES L. CLAGHOR OF PHILADELPHIA, ý --" AND i` ýi 1 LENT FOR OF ART, ; BY HIM EXHIBITIONAT THE METROPOLITANMUSEUM 128 WEST 14th STREET, NEW YORK, MARCH, 187k. J m . ., sr . ý, . Enterer', Act Congress, in . cordigg to of the yeas 1874, by In the Office of the Librarian of Congress, fWashiugton, D. C. SI. I1 POWERS, MACGO WAN AND ";R, PRINTERS, 168 NASSAU STREET, COR. I %NKFORT. Y THE'design of the present Exhibition of Prints is to illustrate the progress the 4rt Engraving, by from the of . of selections -works if the leading artists of the various schools, from the earliest date down to he present time, em- bracing a period of nearly four hundred and fifty years. The arrangement is therefore chronological, and net alphabetical, which latter is the usual mode. The necessity for condensing the Catalogue has rendered it impossible to make any remarks on especial Prints, although very many of them are ex- tremely rare, and in unusual and remarkable state as to impression. "I cATA L. o GU1 I" ARTIST. No. ENGRAVER. SCHOOL. TIME. SUBJECT. i l Three Kings, Original. 1 Martin Schongauer, German, 1445-1499 Adoration of the 5 Judith with the Head of Ilolo- 46 Flemish, 1424-1503 2 Israhel Van Meckenei fernes, Goldsmith and Engraver. CC 3 Andrea 3lautegna, Italian, 1431-1506 The Flagellation, cc cc 4 u cc cc Combat of Marine Gods, 5 i A. Glockenton, German, l4'32- Christ before the High Priest, r, ýRohetta, Italian, 1460-1520 Adoration of the Three Kings, Goldsmith and Engraver. 7 ýAlbert I>izrer, German, 1471-1528 Holy Family with the Butterfly, .cu cc cc cc St. George, A ýi. 8 I( Cl Cf 94 The Knight, Death Devil, << ý s I and the 69 9C Madonna the Pear, .ý « « with NN, Imca, Crauach, 1412-1553 St. Christopher, Original -O(,(I Cut. Cf cc *cc 12 4c u « .c The Tournament., Marc. Antonio Rai- 13 Italian, 1487-1539 Notre Daiue a PEscalier, KapLaul. mowli, 44 46 Alexander puts Ilomer's Works 14 it ,. « in the Tomb of Achilles, li Marco Ravenna, c4 1496=1527 Juno, Ceres: anti Psyche, (la LG GC 1ti Gc cc of The rape of Helen, Original Wood ('n!. 17 A. Altdorfer, Germah, 1488-1528 'l'he resurrection, US Ago. Veueziauo, Italian, 1490-1540 The Carcass (Lo Stregozzo), Raphael. tino 44 46 19 44 44 GL Philosophy, 20 44 4( 69 u« Portrait of Hayreddin Barbarossa Original. 21 Lucas Van Leyden, Dutch, 1494-1533 The l: atiisin ; of Lazarus, 22 << << 46 46 Pyramus and Thisbe, .. I TheVirgin, St. Anna, St. Roch Jacobus Veronensis. 2: 3 G. G. Caraglio, Italian, 1512-1570 an<I St. Sebastian, Titian. 24 Giulio 13onasoni, 1498-1580 The Repose in Egypt, Thoiniris Ilead Cyrus, Orig; 25 Geo. Pentz, ( errnan, 1500-1550 with the of U.al. AI; LePt7 1500-1562 Baptism of the Eunuch, 2f3 Claas, 44 .1i Aldegrever, 1502-1562 Esther before the King, 27 11. v(G (( u 44 44 Lot his Family leaving Sodomj 28 and M. Angelo. 29 N. ßeatrici,, Italian, 1500-1562lavv-1bUY Nallrail of01 Phaeton,I-linetm], Ci*"sa- LG Ne Army of Charles V. Original. 30 Eneas Vico, 1520-I s7o ing the Eflho, : 31 If. Golt"r. ias. )utch, 1558-1617 The Virgin and Dead Christ., 3'2 Malian, 1557-1602 The Crucifixion, Paul Vcront-; r. Agostino Caracci, O1'lý: 33 Sr. Jer:,, ne, : nal. << .ý L. Annibale Caracci, 1560-1609 1ladoii is with Si. Ilichael, 3.1>batrm. 34 Ori, inal. 35 1 )atch, 1561-1623 Triumph of ; ýa.cchus, 7.T. v(>i; Vaum; 36 .J. dc Ghcyn,ry, rleinihh, 1565-1616 Perseus and Andromeda, tn(ler. ke Austria, P. i'. IloLenh. 37 Jan Muller, Dutch, 1570-1625 Albert, :\rcli-; >i! u`" C. 44 G6 K { Isaiwlla Clara Eugenia; Arch- 38 «« Duchess of Austria, S Lucas Vosterman, Flemish, 1580- The Nativity, << 39 St. John, Original. 40 Guido Reui, Italian, 1579-1642 Madonna, C'r1ild : nd cc cc 64 " The Holy Family (two states), 41 Rubens. Boetius Bolswert, Flemish, 1580-1634 The Crucifixion, 1'. P. 42 A. El heimer. 4: U. V. Goudt, C:erm an, 1585-1630 The Aurora, 3 P. 1. Rubens, 44 Schelte A. Bolswcrt, I'lommish, 1586- Dead Christ, 4G Thorns. I Van Dyck. 45 cc cc Christ Crowned with a I No. ENGRAVER. SCHOOL: TIME. SUBJECT. ARTIST. 46 G. Rihera, Italian. 1589-16b6 Sl. Jerome, Original Etching. 47 J. Callot, French, 1592-1635 Temptation of St. Anthony fC 48 Aut. Van Dyck, Flemish, 1599-1641 Judocus Citenmans, 49 Claude Lorraine, French, 1600-1682 The Sea Port, « 49 50 ,6 ýg Departure for the Fields, « 51 C. Mellan, 4C 1601-1688 Face of Christ-The Sud: t inn, Oriý; nal. 52 Paul Pontius, Flemish, 1596-1658 Presentation in the'1'ew1, 1'. P. Rn'oeus. 46 (4 66 , 53 C( « St. Rosalia, A. Van Dyck. (( fG K (( 11 54 St. Roch Iutei"(, ýeding for ti " Sick, l P. 1'. Rubens. 55 Rembrandt, Dutch, 1606-1674 I Christ healing the Sick, Original Etching. The Hundred Guilder Piece. C( 56 :ý u Raising of Lazarus, from Cross, aI « Descent the 58 " Death of the Virgin, 4( 59 U The Mother of lteruhrandl «K 60 W. fiollar, tTt'1'nlall, 1607-1677 Landscape (etching), P. Van Artois. 61 J. G. `Tall Wet, I)l1tCl1, 1610- St. Jerome, Original Etching. 62 A. Ostale, cc 1610-1685 The Lunch, U 63 David '1'eniers, ý ýcinlsll, 1610-1694 Dance of Boors, c4 64 J. Suyderhoef, 1)lltch, 1610-1609 The Lion Hunt, 1'. P. 11uUenR. 65 John Both, cc 1610-1651 The Great, Tree, Original Etching. 44 46 S. de Vlieger, cc 161 2-1642 Fishermen, 66 (( L( Salvator Rosa, Italian, 1615-167; 3 Death Regulus, 67 of fL (( 68 A. Waterloo, Dutch, 1618-1660 Landscape, (C lC 69 N. Berghem, « 1624-1683 Cros-ins the Stream, CC (( C[ 70 Paul Potter, 1625-1654 The Cowherd, 71 C. Visseher, « 1610-1670 The Skaters, A. Voll Ostade. 72 R. Nanteuil, French, 1630-1678 Portrait of Louis de Bouc ierat, Oriýinal. 73 Lt Jean Francois Sarrs:.. in, 74 Karl Du Jardin, Dutch, 1640-1678 The Shepherdess, Original Etcliing. " 75 A. Masson, French, 16:36-1700 The SupperatEinnºaus (la inppe)1 Titian. LL 76 44 44 Guillaume de Brisaci, r, N. Mignard. C, 6 ff (( 44 ü Comte d'Harcourt. (. e 1-(eta he Perle), 78 G. Edeliiick, 1627-I707 1Holy Fancily of Francis 1. Raphael. 79 « << cc cc liattle of the Standard, L. da Vinci. ü 80 Peter Drevet, 1664-1739 Louis the Fourteenth, 11. Rigaud. KK 81 Louis the Fifteenth, 44 4! 94 82 Lonis Alexis de Bourbon, 8.9 C. llnsart, Dutch, 1665-1704 The (Treat Fair, Original Etching. 84 J. Allran, 1+'rcuch, 1667-175ß P. P. Rubens, Van Dyck, LL T rI I. -- _. _ Child, 85 . J. l-llel"eal1, 1684-1776 and Raphael. (G _Madonna 86 Peter Inil)ert 1)revet, 1697-1739 J. 11.ßossuet, Bishop of A 2wux, H. Rigaud. K cc 87 44 4: 44 46 Samuel Bernard, 88 U. W. llietsicy, GWrinail, 17. 12-1774 The Mountebanks, Origipal Etching. 89 G. F. 44 1712-1775 Jean Baptiste Silva, H. lligaud. Schmidt, L( LL ý,. Pierre Migenard, 4< i tie Fitnoop.. er (etau Vanderneer. 2 'l'homa,s Major, Fnglisli, 1715-1768 11oon1i[; ht, 9ý J. G. 1Villo, Frcuch, 1717-1808 Louis Phel, ypeaux, Lonis Tocque. 44 44 L: LL 94 .c The Death of ",! arc Auto P. Battoni. L. L 95 HK The Travelling Musician!,, Dietricv. UL 96 tt .ý The Satin Gov; n, ferburg. LC LL 97 cc u .G The Family Concert, G. Schalken. 98 John Browne, L+'uýlisli, 1719-1790 Baptism of the Eunuch, J. & A. Both. 4( LL 1 99 1f 1C LL Cephalus and Procris, i Claude Lorraine. 100 Robert Strange, 46 1723-1792 Charles I., A. Van Dyck. Apotheosis Child, C[ ü 64 6c cc of the in of Benj. West. 101 George 11i., 102 Richard Earloin, 1742-1822 Plrtrait of Rembrandt, Rembrandt. s No. ENGRAVER. SCHOOL. TIME. SUBJECT. ARTIST, 103 Richard I+:arlum, 1742-182'L A Blacksmith's Shop, J. Wright. 104 F. 13artulozzi, Italian, 1730-1813 Clytie, A. Caracci. 105 S. Ficquet, Freuch, 1731-1794 J. J. Rousseau, De la Tour. 106 49 44 « 66 64 Voltaire, U lG 107 J. F. Beaiivarlet, 1732-1797 The Message, F. Boucher. 108 GG {L « «u The Reception, 44 109 Wm. Woollett, r+mglish, 1735-1785 Ceyx Alcuone, R. Wilson. "" f{ GL and 110 The Temple of Apollo, Claude Lorraine. 1 11 J. J. de l; oi, sieu, ,ich, 1736-1810 The Wine Cellar, Original Etching. 112 C. A. Yrn"porati, aiian, 1741-1816 Venus and Cnpid, P. Battoni. 113 S. Smith, K'nglish, 1745-1808 The Water Fall, Ruvsdacl. 44 114 W. Sharp, 1749-1824 The Doctors of the Church, Guido Reni. 115 ct u John Hunter, Sir Josh. Reynolds 116 S. Middiman, 61 1746-1818 The Melancholy Jacques, W. IIodges. 117 J. G. Muller, (xf, rrnan, 1747-1830 Louis the Sixteenth, F. Duplessis. 118 Peter Savart, French, 1750- N. Boileaux Despreaux, Rigaud. 119 69 iG c( Colbert, Channpaigne. 120 C. C. Rervic. « 1756--1822 1 Lonis the Sixteenth, A. F. Callet. t cc u 121 «« << The Rape of Dejauira, Guido Reni. ({ C( 122 «« « The Education of Achilles, J. B. Regnault. 123 «« Of 49 The Laocoon, Antique. 124 Raphael Morgheu, Italian, 1758-1833 The Transfiguration, Raphael. 125 << <. 9( u« Madonna Della Sedia, 49 126 .ý cc cý Magdalen, Murillo, 127 .. « uu Aurora, Guido Reni.
Recommended publications
  • Illustrated and Descriptive Catalogue and Price List of Stereopticons
    —. ; I, £3,v; and Descriptive , Illustrated ;w j CATALOGUE AND PRICE LIST- t&fs — r~* yv4 • .'../-.it *.•:.< : .. 4^. ; • ’• • • wjv* r,.^ N •’«* - . of . - VJ r .. « 7 **: „ S ; \ 1 ’ ; «•»'•: V. .c; ^ . \sK? *• .* Stereopticons . * ' «». .. • ” J- r . .. itzsg' Lantern Slides 1 -f ~ Accessories for Projection Stereopticon and Film Exchange W. B. MOORE, Manager. j. :rnu J ; 104 to no Franlclin Street ‘ Washington . (Cor. CHICAGO INDEX TO LANTERNS, ETC. FOR INDEX TO SLIDES SEE INDEX AT CLOSE OF CATALOGUE. Page Acetylene Dissolver 28 Champion Lantern 3g to 42 “ Gas 60 Check Valve S3 •* 1 • .• Gas Burner.... ; 19 Chemicals, Oxygen 74, 81 ** < .' I j Gas Generator.. ; 61 to 66 Chirograph 136 “ Gas Generator, Perfection to 66 64 Chlorate of Potash, tee Oxygen Chemicals 74 Adapter from to sire lenses, see Chromatrope.... 164 Miscellaneous....... 174 Cloak, How Made 151 Advertising Slides, Blank, see Miscellaneous.. 174 ** Slides 38010,387 " Slides 144 Color Slides or Tinters .^140 “ Slides, Ink for Writing, see Colored Films 297 Miscellaneous, 174 Coloring Films 134 “ Posters * *...153 " Slides Alcohol Vapor Mantle Light 20A v 147 Combined Check or Safety Valve 83 Alternating.Carbons, Special... 139 Comic and Mysterious Films 155 Allen Universal Focusing Lens 124, 125 Comparison of Portable Gas Outfits 93, 94 America, Wonders cf Description, 148 “Condensing Lens 128 Amet's Oro-Carbi Light 86 to 92, 94 " Lens Mounting 128 •Ancient Costumes ....! 131 Connections, Electric Lamp and Rheostat... 96, 97 Approximate Length of Focus 123 " Electric Stage 139 Arc Lamp 13 to 16 Costumes 130 to 152, 380 to 3S7 ** Lamp and Rheostat, How to Connect 96 Cover Glasses, see Miscellaneous ,....174 Arnold's Improved Calcium Light Outfit.
    [Show full text]
  • Index I : Collections
    INDEX I : COLLECTIONS This index lilts all the extant paintings, oil sketches and drawings catalogued in both volumes of Part vm . Copies have also been included. The works are lilted alphabetically according to place. AIX-EN-PROVENCE, ST. MAGDALEN’S Head Study of St. Catherine of Alex­ CHURCH andria, Cat. 88b, I, 137, 138, fig. T. Boeyermans, painting: 153 The Martyrdom of St. Paul, Cat. 138, ANTWERP, G, FAES II, 134 -137 , fig. 92 Anonymous, painting after Rubens: ALOST, ST. MARTIN’S CHURCH Angels Transporting the Dead Body Rubens, paintings: of St. Catherine of Alexandria, Cat. The Holy Virgin Holding the Infant 79. h I2 3> fig- 13 8 Christ, Cat. 143, 11, 146, 147, fig. ANTWERP, KONINKLIJK MUSEUM 106 VOOR SCHONE KUNSTEN St. Roch Interceding for the Plague­ Rubens, paintings: Stricken, Cat. 140, I, 22, 1 12 ; il, The Lalt Communion of St. Francis of I4 2-I4 7; fig. 102 Assisi, Cat. 102, I, 156 -16 2, fig. Studio of Rubens, paintings: 178; II, 180 St. Roch Fed by a Dog, Cat. 14 1, 11, St. Teresa of Avila Interceding for Ï44-X47, fig. 104 Bernardino de Mendoza, Cat. 155, The Death of St. Roch, Cat. 142, 11, i, 92; i i , 166-168, fig. 125 144-147, fig. 105 Anonymous, painting after Rubens: ALOST, A. CHRISTIAENS St. Thomas Aquinas, Cat. 15 7 ,11, 170, Anonymous, painting after Rubens: fig. 129 St. Magdalen Repentant, Cat. 130, II, ANTWERP, PRESBYTERY OF ST. ANDREW’S 119 CHURCH ALOST, F. VAN ESSCHE Anonymous, painting after Rubens: Anonymous, painting after Rubens: St.
    [Show full text]
  • Colnaghistudiesjournal Journal-01
    EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London.
    [Show full text]
  • Webfile121848.Pdf
    0 TABLE OF CONTENTS Press release ................................................................................................................................................... 2 Catalogue text: Nico Van Hout - Curator ...................................................................................................... 6 Gallery texts ................................................................................................................................................... 11 Transversal Activities ................................................................................................................................... 14 BOZAR MUSIC ......................................................................................................................................... 14 BOZAR LITERATURE ............................................................................................................................. 17 BOZAR EXPO ........................................................................................................................................... 17 BOZAR CINEMA ...................................................................................................................................... 18 Rubens for families ...................................................................................................................................... 19 Disovery trails for families (6>12) ........................................................................................................... 19
    [Show full text]
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
    [Show full text]
  • Victoria Albert &Art & Love Mr Green and Mr Brown: Ludwig Grüner and Emil Braun in the Service of Prince Albert
    Victoria Albert &Art & Love Mr Green and Mr Brown: Ludwig Grüner and Emil Braun in the service of Prince Albert Jonathan Marsden Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Mr Green and Mr Brown: Ludwig Grüner and Emil Braun in the service of Prince Albert Jonathan Marsden In the Introduction to his last work, The Ruins and Museums of Rome (1854), which was not only published in English but dedicated ‘To the English Visitors in Rome’, the archaeologist Emil Braun (1809–56; fig. 1) wrote of the ‘strictly German spirit’ that would be found ‘pervading’ the text: ‘The character of our [i.e. the German] education inclines us to look for that which lies beyond and above what is actually presented to us: whilst, in England, the mode of mental training is, from the first, directed exclusively upon the object itself.’ Braun went on to declare his hope that ‘the scientific treatment of art’ should be brought, ‘with the cooperation of England to the same height already attained by the natural sciences’.1 Braun was well placed to write as he did.
    [Show full text]
  • Annual Report 2000
    2000 ANNUAL REPORT NATIONAL GALLERY OF ART 2000 ylMMwa/ Copyright © 2001 Board of Trustees, Cover: Rotunda of the West Building. Photograph Details illustrated at section openings: by Robert Shelley National Gallery of Art, Washington. p. 5: Attributed to Jacques Androet Ducerceau I, All rights reserved. The 'Palais Tutelle' near Bordeaux, unknown date, pen Title Page: Charles Sheeler, Classic Landscape, 1931, and brown ink with brown wash, Ailsa Mellon oil on canvas, 63.5 x 81.9 cm, Collection of Mr. and Bruce Fund, 1971.46.1 This publication was produced by the Mrs. Barney A. Ebsworth, 2000.39.2 p. 7: Thomas Cole, Temple of Juno, Argrigentum, 1842, Editors Office, National Gallery of Art Photographic credits: Works in the collection of the graphite and white chalk on gray paper, John Davis Editor-in-Chief, Judy Metro National Gallery of Art have been photographed by Hatch Collection, Avalon Fund, 1981.4.3 Production Manager, Chris Vogel the department of photography and digital imaging. p. 9: Giovanni Paolo Panini, Interior of Saint Peter's Managing Editor, Tarn Curry Bryfogle Other photographs are by Robert Shelley (pages 12, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce 18, 22-23, 26, 70, 86, and 96). Fund, 1968.13.2 Editorial Assistant, Mariah Shay p. 13: Thomas Malton, Milsom Street in Bath, 1784, pen and gray and black ink with gray wash and Designed by Susan Lehmann, watercolor over graphite, Ailsa Mellon Bruce Fund, Washington, DC 1992.96.1 Printed by Schneidereith and Sons, p. 17: Christoffel Jegher after Sir Peter Paul Rubens, Baltimore, Maryland The Garden of Love, c.
    [Show full text]
  • The Dream of a Knight, About 1504
    78. raphael (1483–1520) The Dream of a Knight, about 1504 Oil on panel, 17.5 ϫ 17.5 cm (painted surface 17.1 ϫ 17.3 cm) The National Gallery, London (ng 213) Raphael established a connection with Siena out new details with each viewing and Though not in any sense an illustration in around 1503, working with Pintoricchio making new connections between its of either tale, the imagery of this work is on the Piccolomini Library frescoes (see cat. component parts. The picture was very chiefly informed by two well-known classical 74–6). Though he may never have returned carefully planned and was realised using texts. Underlying the whole iconography is to the city, his ties with Sienese patrons a pricked cartoon now in the British the celebrated parable invented by Prodicus continued; his lost, but much-copied Museum (1994-5-14-57).3 of Ceos, a Greek philosopher of the fifth Madonna del Silenzio tondo was seemingly In the centre foreground, a handsome century bc, as reported by Xenophon made for a member of the Piccolomini youth dressed in all’antica armour lies asleep (Memorabilia, II.1, 21–34). This tells of family.1 Thus the suggestion that the Dream propped up against his shield, beneath a Hercules’s encounter, at the brink of of a Knight and its companion picture, the laurel (or bay) tree, which provides a strong manhood, with two women – female very slightly smaller Three Graces (fig. 73), vertical accent within the composition and personifications – at a crossroads, at which were commissioned by a member of the divides the space into two distinct zones.
    [Show full text]
  • How to Show Pictures to Children
    NYPL RESEARCH LIBRARIES 3 3433 07099049 8 AA r ^j\f YOTlK U"Bl""B.Irf T\LDtfro&i^ rrgaoMboo {*toi bj Br»ua, Clcm.iit i t'u. JuUa Andrew i Sun, So. THE HOLY NIGHT (DETAIL) Dresden Gallery HOW TO SHOW PICTURES TO CHILDREN ~h BY V ESTELLE M. HTJHLL AUTHOR OF THE RIVERSU)E ABT SERIES BOSTON NEW YORK CHICAGO HOUGHTON MIFFLIN COMPANY cW^. •p R KQNS COPYRIGHT, 1914, BY ESTELLE M. HURLL • • • • • • C • • • • *» • • • • • • ' • • • • • • • - • • • '.:•. CAMBKIUGK . MASSACHUSETTS U . S . A To J. C. H. WHOSE HELP, ENCOURAGEMENT AND CRITICISM HAVE MADE THE IMPOSSIBLE POSSIBLE ,001 *5»J '* i ,>JJ1 ' ») > 1 1 > B » ,' • i J O \» ^1 ) ) > ) 1 ) 1' T 1 , 1 »• ) >»»<>, > . » ^ 1 »>>«»» JJ >j' »' PREFACE The first suggestion for this little book came from Miss Elizabeth MeCracken, editor of Home Progress, whose enthusiasm and sympathy have been a con- stant inspiration. In her wide correspondence with mothers in regard to the training of children, she dis- covered the need of a book giving practical advice about pictures for children. A similar report came from the libraries, where the same need had long been noticed at the consulting-desks. The call from art educators and pubhc school teachers has been equally urgent. As the custom of hanging pictures in the schoolroom has become almost universal, the demand has arisen for helpful information in matters of art. I am especially grateful to Mr. Henry Turner Bailey, editor of the School Arts Magazine, and Mr. James Frederick Hopkins, director of the Massachusetts Normal Art School, for their words of encouragement and counsel.
    [Show full text]
  • Folia Biologica Et Oecologica 6: 61–68 (Acta Univ
    Acta Universitatis Lodziensis ––––––– 2010 ––––––– Folia Biologica et Oecologica 6: 61–68 (Acta Univ. Lodz, Folia Biol. Oecol.) EWA FORMA, MAGDALENA BERNACIAK & MAGDALENA BRYŚ Department of Cytobiochemistry, University of Łódź, Pomorska 141/143, 90-236 Łódź, Poland, [email protected] BREAST CANCER IN ART PAINTING Abstract: Breast cancer is an emotive cancer. It is a disease that affects a visible sexual organ and it is the commonest single cause of death of women between 40 and 60 years of age. Nevertheless, this type of cancer was infrequently depicted in art paintings. In this article the themes from the breast cancer in famous art paintings are discussed. Key words: breast cancer, art paintings, famous painters 1. INTRODUCTION Science is a systematic knowledge of nature and the physical world, derived from observation and experimentation. Art, on the other hand is the free and creative way of making or doing things that have form and beauty and is based on perceptions and intuition. Artists used their talent in order to depict with the greatest detail possible the human anatomy and later the histology of tissues, helping scientists comprehend better the world and human nature. From the other side, scientific images coming from observation or experimentation can constitute art since they can have form and beauty (BONJER, BRUINING 1999; BALJET 2000; BATISTATOU, CHARALABOPOULOS 2005; KARKABI, CASTEL 2006). Medicine and art have long had a close connection. In fact, the practice of medicine in previous centuries was mostly considered to be art. Conversely, the study of human anatomy in the Renaissance period was an essential component of DOI: 10.2478/v10107-009-0007-0 Breast cancer in paintings 62 an artist’s training, as exemplified by the likes of Leonardo Da Vinci (VAIDYA 2007a; EKMEKTZOGLOU et al.
    [Show full text]
  • Museum Plantin- Moretus
    MUSEUM PLANTIN- MORETUS GROUND FLOOR STAIRCASE WELCOME Welcome to the Plantin-Moretus Museum. This was the home and workplace of Chris- tophe Plantin and the Moretus family. For 300 years books were the heart and soul of this place, and they still are. Who lived here? Who worked here? What exactly did they print? What kind of know- ledge and ideas travelled from the house to the four corners of the world, beyond the frontiers of Europe? Downstairs you will meet Christophe Plan- tin: forefather, businessman, manager, hu- manist* and printer. Upstairs you can have a close look at the beautiful books that were printed in this house, from richly illustra- ted bibles to simple almanacs. Here and there you will see reproduc- tions of books that were printed on the premises. They are for you to pick up and enjoy. We wish you a pleasant visit. * From A to Z Humanism? Folio or quarto? What is a breviary? A number of terms need to be explained. At the back of the visitor guide 7 you will find a glossary. THE SMALL DRAWING ROOM 1 THE GOLDEN COMPASSES A 17th-century traveller describes the hous- es of wealthy Antwerp citizens as ‘...solid and constructed with good materials. They are beauti- ful too because they are built in long and straight lines. The entrance gates are adorned with car- vings and in the gardens there are sculptures.’ The Plantin-Moretus Museum is an exam- ple of such a solid and well-built house belonging to an affluent Antwerp family. It contains more than 30 rooms.
    [Show full text]
  • Lives of the Most Eminent Painters Sculptors and Architects
    Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31
    [Show full text]