DOCSLIB.ORG

Modena 2016.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modena 2016.Pdf MATTARTE nasce come bottega MATTARTE gave birth to its acti- d’arte nel 1896. Negli anni ‘50, Gio- vity as an art shop in 1896. In the vanni Matta, sensibile ai cambiamen- ‘50s Giovanni Matta expanded the ti del mercato, sviluppa ulteriormente company making it sensitive to mar- l’azienda, fondando la Mattarte Casa ket changes and to the increasing d’Aste. L’Antiquariato ha sempre demands of customers, founding the rappresentato una passione di Fami- Mattarte Auction House. Antiques glia e oggi, tramite Pinuccia Matta e has always been a passion of the Fa- Raffaello Lucchese, perito ed esperto mily and today, it has been passed on d’Arte del Tribunale di Torino, l’atti- the fourth generation with Pinuccia vità arriva alla quarta generazione. Matta and Raffaello Lucchese, ap- praiser and art expert of the court of Turin. GALLERIA MATTA ANTICHITA’ Eposizione e Vendite: via Torino n°12 - 10038 Verolengo (TORINO) tel.+39.011.9149177 - +39.347.8620735 www.mattarte.it - [email protected] Giovanni Fattori (Livorno 1825 - Firenze 1908) Il trapelo olio su tavoletta / oil on wood cm.14,5x19 Firmato in basso a destra / Signed lower right Provenienza/Provenance: Collezione Gilberto Petrelli, Firenze; Collezione Lu-Cas (Luciano Cassuto, Livorno); Walter Fattori (nipote di Giovanni Fattori) (1930-2015). Bibliografia/Literature: L.Coletti-T.Spini, Collezione Ottaviano Venier, Ed. della Rotonda, Bergamo 1957, pg.58, tav.56 Attestato di archiviazione dell’Istituto Matteucci n.415652 del 12 agosto 2016 Valerio Castello (Genova 1624 - 1659) Baccanale / Bacchanalian Olio su tela / oil on canvans cm.35x99 L’inedito dipinto è opera tipica del Maestro, iniziatore della grande stagione barocca ge- novese, da datarsi intorno alla metà degli anni ‘50, come confermato dal Prof. Camillo Manzitti che, nel suo studio sul dipinto lo definisce “...certamente tra i più complessi e articolati del genere...”. Esso è un vero capolavoro: attraverso una pennellata densa e pastosa, infatti, con effervescente esubaranza colorista è riuscito, nella tela in esame, a dare vivacità e ritmo compositivo alla scena. I vari puttini si alternano in un valzer che rievocano in ogni pennellata i suoi prototipi figurativi. Il ritmo della scena, accentuato dalla forma della tela, è reso incalzante attraverso vorticosi avvitamenti delle figure dei puttini che sembrano quasi evocare un minuetto. This unpublished painting is a typical work of Valerio Castello, initiator of the great Ge- noese Baroque season. The painting has to be dated in the mid-50s, as confirmed by Prof. Camillo Manzitti that, in his study on this painting write “... surely among the more complex, and articolate of this genre ... “. It is a masterpiece: through a brushstroke thick and pasty, in fact, with effervescent esubaranza colorist is able, to give vivacity and com- positional rhythm to the scene. Various putti are alternate in a waltz which evoke in every brushstroke his figurative prototypes. The rhythm of the scene, accentuated by the shape of the canvas, is made urgent by swirling twists of the figures of putti that seem to evoke a minuet. Bibliografia di riferimento: Valerio Castello, Torino 2004. Camillo Manzitti. Antonio Travi detto il Sestri (Sestri Ponenete 16341609 - Genova 1665) Il ritrovamento della coppa di Giuseppe nel sacco di Beniamino” / The discovery of the cup of Joseph in the sack of Benjamin Olio su tela / oil on canvans cm.94x148 Opera di altissima qualità ed autografo “in toto” del Maestro Antonio Travi. Avanzerei l’ipotesi di una datazione a cavallo degli anni ‘40 del Seicento. L’opera si presenta con una materia molto smaltata con riferimenti lampanti sia a Giovan Battista Castiglione detto “Il Grechetto”, sia a Sinibaldo Scorza che a Cornelis de Wael. Per quanto riguarda la scena rappresentata questa, anche se ci mostra un fatto biblico, deve essere stata pensata dal Maestro quale una vera e propria “Vanitas”. I personaggi, infatti, parlano intorno a una preziosa coppa, ma vengono quasi annullati, messi in con- trapposizione al trascorrere del tempo sottolineato dalle rovine che giganteggiano dietro di loro. Work of high quality and fully autographed by Antonio Travi. It raises the possibility of a dating at the turn of the 40s .The picture shows a subject very glazed with references both to Giovan Battista Castiglioni said “Il Grechetto”, both Sinibaldo Scorza that Cornelis de Wael. As for the scene represented this, even though he shows us a Biblical fact, it must have been designed by the Master as a real “Vanitas”. The characters talk around a pre- cious cup, but are almost canceled, placed in opposition to the passage time out from the ruins that towering behind them. Pubblicato su / Published on: Antonio Travi e la pittura di paesaggio a Genova nel ‘600. Gianluca Zanelli, Ed.Sagep - pg.45 fig.52 Cesare Dandini (Firenze 1596 - 1657) Allegoria della Giustizia - Ritratto Allegorico della Granduchessa Vittoria della Rovere Allegory of Justice - Portrait of Grand Duchess Vittoria della Rovere Olio su tela / oil on canvans cm.99x80 La posizione di primo piano rivestita dal Dandini tra i pittori operanti a Firenze alla metà del Seicento è testimoniata, oltre che dalle fonti antiche, dai resoconti dell’ormai cele- bre processo Galli Tassi del 1656, nel quale fu effettuata una sorta di sondaggio d’opinione per stabilire chi fossero le figure di rilievo nei vari settori artistici. Il primato nel campo della pittura spettò incondizionatamente a Cesare Dandini. L’opera da noi presentata è un affascinante olio su tela raffigurante Vittoria della Rovere moglie del Granduca Ferdinando II in una elegantissima “Allegoria della Giustizia”, pro- babilmente quindi commissionata direttamente dalla Famiglia Granducale, collocabile alla metà degli anni trenta del 1600, nel momento di massimo culmine del suo “cursus” pittorico, nel passaggio all’interno del percorso artistico dandiniano dalla fase “bronzea” a quella “lunare”. L’opera ricca di fascino e di erudite formule interpretative, si pone per gli effetti lucidi brillanti, per il notevole uso di lapislazzulo, per la splendida resa esecutiva e per l’eccellente definizione cromatica tra i raggiungimenti più alti di Cesare Dandini, il quale in quest’opera fonde in modo magistrale non solo le tendenze naturalistiche tosca- ne d’impronta caravaggesca e ricordi neo-bronziniani ma anche i languori della lezione furiniana e reniana. Dandini’s first level position among painters working in Florence in the middle of the 17th century is attested not only in ancient sources, but also by the statements of the by now noted Galli Tassi trial of 1656, in which a sort of opinion poll was carried out to estabilish the prominent position figures in the various artistic fields. The primacy in painting field was entitled unconditionally to Cesare Dandini. The work presented by us is a charming oil on canvas depicting Vittoria della Rovere, wife of Grand Duke Ferdinand II in a very elegant “Allegory of Justice”, probably commissio- ned directly by the Grand Ducal Family, that can be placed in the mid-thirties of 1600, at the peak height of his pictorial “Cursus”, that is in the inside landscape period of the dan- dinian artistic career, from the “bronze” fase to the “moon” one. The work is rich in appeal and erudite interpretative formulas, and for its magnificent execution, and its excellent chromatic definition, and its the considerable use of lapis lazuli, this canvans is one of the highest artistic achievements of Cesare Dandini, who in this work blends masterful- ly not only the trends of the Tuscan countryside impression Caravaggio and memories neo-bronziniani but also the sensual languor of Furini and Guido Reni. Bibliografia: Giovanni Martinelli da Montevarchi pittore in Firenze” Ed. aSKa pg.73 fig.35 “Studi sulla pittura e scultura del ‘600 e ‘700 a Firenze” Ed. Polistampa, S.Bellesi pgg.16-19 Francesco Botti (Firenze 1640 - 1711) Venere e Marte / Mars and Venus Olio su tela / oil on canvans cm.107,5x81 Il dipinto in esame raffigurante Venere e Marte risulta essere tra le opere migliori del nostro Maestro. Venere vestita di sontuosi abiti dai raffinati tessuti serici, impreziositi da gemme incastonate in oro, porge rose a Marte e Cupido. L’opera testimonia l’alta qualità raggiunta da Botti da mettere in relazione con la Santa Caterina della Collezione Luz- zetti, la Veronica di Ubicazione sconosciuta e la Sofonisba del Museo Civico di Monte- pulciano, anche se nella nostra raggiunge una più complessa ed articolata composizione. Un’opera molto simile, ma di qualità, a nostro parere, assai più bassa è conservata a Pa- lazzo della Camera di Montecitorio, Roma, proveniente dalle Gallerie di Firenze. The present painting depicting Venus and Mars is amongst the best works of Francesco Botti. Venus dressed in sumptuous garments of fine silk cloth, with gold mounted gems, handing roses to Mars and Cupid. The work demonstrates the high quality achieved by Francesco Botti. The work have to be linked with St. Catherine of Luzzetti Collection, Veronica, unknown location, and Sofonisba of the Civic Museum of Montepulciano, al- though in our Botti reaches a best and more complex composition. A similar work, but of lower quality, in our opinion,is stored at the Palace of Montecitorio, Rome, coming from the Gallerie of Florence. Bibl. di rif.: Catalogo dei Pittori Fiorentini del ‘600, Sandro Bellesi, pg.95-97; Simone Pignoni, Francesca Baldassari, pg.189 n.17. Maestro di Fontanarosa (Giuseppe di Guido?) (Attivo a Napoli nella prima metà del XVII secolo) San Luca / St. Luke Olio su tela / oil on canvans cm.172x126 Il dipinto era nella collezione privata del pittore Arturo Chelini (1877-1942), con una comprensibile attribuzione a Battistello Caracciolo, da cui oggi si svincola un impor- tante corpus di dipinti che sono stati assegnati appunto al Maestro di Fontanarosa. La fortunata convenzione onomatopeica data da Raffaello Causa, anche se per un diverso ed eterogeneo gruppo di opere, deriva dalla prima e più significativa opera assegnatagli raffigurante una “Ultima Cena”, conservata nella parrocchiale di San Nicola, appunto a Fontanarosa in provincia di Avellino.
Load more

Recommended publications
  • 669 Other Artists
    669 Other Artists Fig. 132. Francesco Fracanzano (attrib.) Rosa and Friends (drawing, Christie’s Images) Fig. 131. Giovan Battista Bonacina, Portrait of Salvator Rosa (engraving, 1662) Fig. 133. Francesco Fracanzano (attrib.), Rosa and Friends (drawing, British Museum, London) Fig. 134. Lorenzo Lippi, Orpheus (c. 1648, private collection, Florence) 670 Fig. 135. Lorenzo Lippi (and Rosa?), The Flight Fig. 136. Lorenzo Lippi, Allegory of Simulation into Egypt (1642, Sant’Agostino, Massa Marittima) (early 1640’s, Musèe des Beaux-Arts, Angers) Fig. 137. Baldassare Franceschini (“Il Volterrano”), Fig. 138. Baldassare Franceschini (“Il Volterrano”), A Sibyl (c. 1671?, Collezione Conte Gaddo della A Sibyl (c. 1671?, Collezione Conte Gaddo della Gherardesca, Florence) Gherardesca, Florence) 671 Fig. 140. Jacques Callot, Coviello (etching, Fig. 139. Jacques Callot, Pasquariello Trunno from the Balli di Sfessania series, early 1620’s) (etching, from the Balli di Sfessania series, early 1620’s) Fig. 142. Emblem of the Ant and Elephant (image from Hall, Illustrated Dictionary of Symbols in Eastern and Western Art, p. 8) Fig. 141. Coviello, from Francesco Bertelli, Carnavale Italiane Mascherato (1642); image from Nicoll, Masks Mimes and Miracles, p. 261) 672 Fig. 143. Jan Miel, The Charlatan (c. 1645, Hermitage, St. Petersburg) Fig. 144. Karel Dujardin, A Party of Charlatans in an Italian Landscape (1657, Louvre, Paris) Fig. 145. Cristofano Allori, Christ Saving Peter from Fig. 146. Cristofano Allori (finished by Zanobi the Waves (c. 1608-10, Collezione Bigongiari, Pistoia) Rosi after 1621), Christ Saving Peter from the Waves (Cappella Usimbardi, S. Trinità, Florence) 673 Fig. 148. Albrecht Dürer, St. Jerome in his Study (engraving, 1514) Fig.
    [Show full text]
  • The Representation of Roma in Major European Museum Collections
    The Council of Europe is a key player in the fight to respect THE REPRESENTATION OF ROMA the rights and equal treatment of Roma and Travellers. As such, it implements various actions aimed at combating IN MAJOR EUROPEAN discrimination: facilitating the access of Roma and Travellers to public services and justice; giving visibility to their history, MUSEUM COLLECTIONS culture and languages; and ensuring their participation in the different levels of decision making. Another aspect of the Council of Europe’s work is to improve the wider public’s understanding of the Roma and their place in Europe. Knowing and understanding Roma and Travellers, their customs, their professions, their history, their migration and the laws affecting them are indispensable elements for interpreting the situation of Roma and Travellers today and understanding the discrimination they face. This publication focuses on what the works exhibited at the Louvre Museum tell us about the place and perception of Roma in Europe from the15th to the 19th centuries. Students aged 12 to 18, teachers, and any other visitor to the Louvre interested in this theme, will find detailed worksheets on 15 paintings representing Roma and Travellers and a booklet to foster reflection on the works and their context, while creating links with our contemporary perception of Roma and Travellers in today’s society. 05320 0 PREMS ENG The Council of Europe is the continent’s leading human rights organisation. It comprises 47 member Volume I – The Louvre states, including all members of the European Union. Sarah Carmona All Council of Europe member states have signed up to the European Convention on Human Rights, a treaty designed to protect human rights, democracy and the rule of law.
    [Show full text]
  • 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.
    [Show full text]
  • Entertaining Genre of Matthijs Naiveu - Depicting Festivities and Performances at the Dawn of the ‘Theatre Age’
    Research Master Thesis Art History of the Low Countries in its European Context Entertaining genre of Matthijs Naiveu - depicting festivities and performances at the dawn of the ‘Theatre Age’. Student: Adele-Marie Dzidzaria 0507954 Supervisor: Prof. Dr. Rudi Ekkart Utrecht University 2007 Table of contents Introduction....................................................................................................................3 1 Biography/Overview of Naiveu’s oeuvre ..............................................................5 1.1 From Leiden to Amsterdam...........................................................................5 1.2 From early genre to theatrical compositions..................................................8 1.3 Portraiture ....................................................................................................14 2 Historiographic context/ Theatricality in genre painting.....................................19 3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities..............................................................................................................24 4 Theatrical paintings - thematic sources and pictorial models..............................32 4.1 Out-door festivities and performances.........................................................32 4.2 In-door celebrations and amusements..........................................................56 5 Conclusion ...........................................................................................................62
    [Show full text]
  • A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde
    A CATALOGUE OF THE PAINTINGS IN THE COLLECTION of SIR FREDERICK COOK, BT. A CATALOGUE OF THE PAINTINGS AT DOUGHTY HOUSE RICHMOND AND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE Edited by HERBERT COOK, M.A., F.S.A. VOLUME I ITALIAN SCHOOLS By DR TANCRED BORENIUS LONDON • WILLIAM HEINEMANN A CATALOGUE OFTHE PAINTINGS AT DOUGHTY HOUSE RICHMOND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE EDITED BY HERBERT COOK, M.A., F.S.A. HON. MEMBER OF THE ROYAL ACADEMY OF MILAN VOLUME II DUTCH AND FLEMISH SCHOOLS By J. O. KRONIG LONDON WILLIAM HEINEMANN M DCCCC XIV PREFATORY NOTE THE second volume of the Cook colledtion is devoted to the Dutch and Flemish Schools. The art of the so-called School of the Early Netherlands is reserved for the third volume, which will also contain the English, French, German and Spanish se&ions. In the present volume 190 Dutch and Flemish piitures are recorded, and of these 100 are illustrated either on photogravure plates or by collotype process. The former are executed by the Rembrandt Photogravure Co., of 36 Basinghall Street, E.C.; the latter are the work of Messrs Knighton & Cutts, of Red Lion Court, Fleet Street, E.C. As in the previous volume, single photographs can be obtained either from Signor Domenico Anderson, of Rome, or from Mr W. E. Gray, of 92 Queen’s Road, Bays- water; the register number for ordering is always quoted whenever the photograph exists. The text has been entrusted to Mr J.
    [Show full text]
  • BAMBOCCIANTI SCHOOL (Before 1650)
    THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com BAMBOCCIANTI SCHOOL (before 1650) A Shepherd Boy in a Landscape Oil on canvas 70 x 60 cm PROVENANCE Baron Vetter von der Lilie, Hautzenbichl Castle, Knittenfeld, Austria; from whom purchased by the previous owner in 1950 The Bamboccianti were genre painters active in Rome from about 1625 until the end of the seventeenth century. Most were Dutch and Flemish artists, including Andries and Jan Both, Karel Dujardin, Jan Miel and Johannes Lingelbach, who brought existing traditions of depicting peasant subjects from sixteenth-century Netherlandish art with them to Italy. The name, meaning ‘ugly doll’, derived from the nickname of Pieter van Laer, credited with initiating the Bamboccianti School, due to his ungainly proportions. In Rome during this period, the work of the Bamboccianti School served as an important countermovement which eschewed the lofty subject matter and grand scale of the conventional art of the time. Artists such as Salvator Rosa lamented that the city had been invaded by a group of painters whose works represented “nothing but rogues, cheats, pickpockets, bands of drunks and gluttons, scabby tobacconists, barbers, and other sordid subjects”1. Rosa was outraged that 1 Levine, David A. (December 1988). "The Roman Limekilns of the Bamboccianti". The Art Bulletin (College Art Association) 70 (4): 569–589 Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219.
    [Show full text]
  • Fotokatalog Photographic Catalogue Catalogo Fotografico
    Fotokatalog Photographic Catalogue Catalogo fotografico Source: http://www.khi.fi.it/5201080/Fotokataloge Stable URL: http://wwwuser.gwdg.de/~fotokat/Fotokataloge/Amsler_o_J_6_l.pdf Published by: Photothek des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut http://www.khi.fi.it XVII . Jahrhundert. Spanien. 10808 Bildniss König Philipps IV. von Spanien. IV M. 12, -. Lond on. Desgl. (1129). 10809 Christus an der Martersäule. IV M. 12,-. London. Desgl. (1148). 108(() Bildniss des Infanten Don Balthasar. II M. 3,5°. London. Hertford Gallery. [oS[ I Bildniss einer Dame mit einem Fächer. n M. 3,5°. Erklärung der Abkürzungen. London. Desgl. 10812 Bildniss des Carlo M. Altogradi. TI M. -,80. IV M. 3,-· Cie. _ Jac. Burckhardt, Der Cicerone, Fünfte Auflage, bearbeitet von Lucca Privatbesitz (March. Gir. Mansi). Wilh. Bode. 108 [3 Die Anbetung der Könige. n M. 1,5°. m M. 3,-· ~1ad rid. Prado (1054). C. = J. A. Crowe & G. B. CavaIcasell e, Geschichte der ital. Malerei. \OSq Di~ Madonna mit dem Kinde. Theil aus No. IOS[3· V M. 6.-. Woerm. = Woltmann - Woermann, Geschichte der Malerei. Madrid. IJesf{l. Mor. = Lermolieff, Die Werke ital. Maler in den Galerien ,'on München, roS[ S Christus am Kreuz. II M. [,50. III M. 3,-· IV M. 12,-. Dresden und Berlin. V M. 6,-. VI M. 48,-. Madrid. Desg-\. (1055). Vasari = Le opere di Giorgio Vasari. [0816 Die Krönung Mariae. Il M. 1,50. III M. 3,-. IV M. [2,-. V M. 6,-. Madrid. Desg\. (1056). [08 I 7 Der Kopf Mariae. Theil aus No. \0816. III M. 3,-. Scala der Formate. Mad rid. Desgl.
    [Show full text]
  • 2020 Recent Acquisitions
    2020 RECENT ACQUISITIONS OLD MASTER PAINTINGS 11 Duke Street, St. James’s, London SW1Y 6BN Telephone: +44 (0) 20 7930 1144 Fax: +44 (0) 20 7976 1596 Email: [email protected] Website: www.rafaelvalls.co.uk @rafaelvallsgallery Member of SLAD ACKNOWLEDGEMENTS We are extremely grateful to the following for their generous help in the writing of this catalogue: Daphne Dorel, David Geggus, Claudine Lebrun Jouve, Kate Lowe, Jan Michel Massing, Elizabeth McGrath, Fred Meijer, Michael Ohajuru, Susan Peabody, Rowland Rhodes and Jamie Rountree. Front and Back Cover: Louis Gentile, Il Cousin ‘A Double Portrait of Adele, Daughter of the Comte de Carcasonne, together with Don Guillen Damiser de Moncada in Commemoration of their Marriage circa 1030’, (detail) cat. no. 14. Catalogue of Works The catalogue is arranged in alphabetical order 1. Jan Asselijn 2. Jan Asselijn 3. Osias Beert I 4. Jacob Bogdani 5. Ferdinand Bol 6. Bartolomeus Breenbergh 7. Elias van den Broeck 8. François Bunel II & Studio 9. Francesco Codino 10. Edwaert Collier 11. David Klöcker Ehrenstrahl 12. Marie Margaretha La Fargue 13. Frans Francken II 14. Louis Gentile, Il Cousin 15. Karl Girardet 16. Karl Girardet 17. Jan Josefsz van Goyen 18. Franciscus Gysbrechts 19. Samuel van Hoogstraten 20. Jules Romain Joyant 21. Carlo Labruzzi 22. Pascuale Mattej 23. Jan Miel 24. Circle of Robert Peake 25. Jean Pillement 26. Franz Rösel von Rosenhof 27. Enoch Seeman 28. John Thomas Serres 29. Johann Friedrich Seupel 30. Maerten Boelema de Stomme 31. Nicolas Antoine Taunay 32. Jan Tilius 33. Cornelis van de Velde 34. Charles Wautier 35.
    [Show full text]
  • Michael Sweerts (1618-1664) and the Academic Tradition
    ABSTRACT Title of Document: MICHAEL SWEERTS (1618-1664) AND THE ACADEMIC TRADITION Lara Rebecca Yeager-Crasselt, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti – the contemporary group of Dutch and Flemish genre painters who depicted Rome’s everyday subject matter – to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor François Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts’ artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy.
    [Show full text]
  • The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome
    ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century.
    [Show full text]
  • Book Chapter Reference
    Book Chapter Mauvais genres. Adriaen Brouwer et la parodie artistique au XVIIe siècle BLANC, Jan Reference BLANC, Jan. Mauvais genres. Adriaen Brouwer et la parodie artistique au XVIIe siècle. In: Les Genres picturaux. Genève : Voltiges, 2008. Available at: http://archive-ouverte.unige.ch/unige:93663 Disclaimer: layout of this document may differ from the published version. 1 / 1 Mauvais g.enre.s. M rioer. O!ùU'IICr'.Ct la p<:~ rod ÎL' arHs:tîqf4~ ·:;.u 17" siècle Il existe comme un mysti?rP. autour d~ kr c:.lHÎ,êre e~ de l'œ\IVre rl'Adri;~e•) ilfOtl'llef. Si !c vciulré ltollomJ;;i-; ~-;~ run des plus popu­ laires au lr s1ecle, t~ata m.ment aupri!s· d~~. an:fs~e(,· et des ;'lm.ne•r!S, ile!-t \ltrsst. CU(iCUrSC'ml•nl,l'ùn dc ~ri!u-; mCpri sCsparr~s lh<}oncicns de l'a,rt. Samuel ·;;u Hrxu.sl'!l.FN pari~ ~i Mi du .r..:reru)t~~ hm R r~-uwer» (! ont «il n ·y t.t ~iN'r à g~gué-r 'à •;uivfc» l'cxcmpl ~ [ 1û?8: 1!> J, l:: l prês de soixante ans ,glul'i tard, r.erard de 1'· '~ESS-E e'ie plique q !JP. l' «.)ft de peinture [ es't] um• îrniUI,l~IJ'I! _de la vit", q.•i pt:ul ~L·üui !e ou dégoüter un im e humain, 1. .. 1s i biM que $Î l'on '.'P.Ut bien -teprP.!'.~OtP.r l.'l Vie rie f.)ÇO f'l'le S.$~1'1'\b!~(I \C', ( ~1(-~ peintu re-; comme c~jl~s dL' l;irouwcrc) s~ront r.êceS- sairemP.nt contemp!P.P.s a·.·ec:_ du.clP.goût»~ -[ 1740· 1, t'7 t ].
    [Show full text]
  • The Presentation of Roma in Major European
    THE REPRESENTATION OF ROMA The Council of Europe is a key player in the fight to respect the rights and equal treatment of Roma and Travellers. As IN MAJOR EUROPEAN such, it implements various actions aimed at combating discrimination: facilitating the access of Roma and Travellers MUSEUM to public services and justice; giving visibility to their history, culture and languages; and ensuring their participation in the COLLECTIONS different levels of decision making. Another aspect of the Council of Europe’s work is to improve the wider public’s understanding of Roma and their place in Europe. Knowing and understanding Roma and Travellers, their customs, their professions, their history, their migration and the laws affecting them are indispensable elements for interpreting the situation of Roma and Travellers today and understanding the discrimination they face. This publication focuses on what the works exhibited at the Prado Museum tell us about the place and perception of Roma in Europe from the 15th to the 19th centuries. Students aged 12 to 18, teachers, and any other visitor to the Prado interested in this theme, will find detailed worksheets on 15 paintings representing Roma and Travellers and a booklet to foster reflection on the works and their context, while creating links with our contemporary perception of Roma and Travellers in today’s society. PREMS 005220 ENG The Council of Europe is the continent’s leading human rights organisation. It comprises 47 member Volume 2 – The Prado states, including all members of the European Union. Sarah Carmona All Council of Europe member states have signed up to the European Convention on Human Rights, a treaty designed to protect human rights, democracy and the rule of law.
    [Show full text]