DOCSLIB.ORG

Catalogue 344 Catalogue 344

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue 344 Catalogue 344 Catalogue 344 Catalogue 344 T. Peter Kraus Art Theory & Technique URSUS RARE BOOKS, LTD. 50 East 78th Street, Suite 1C New York, New York 10075 Tel: (212) 772-8787 Fax: (212) 737-9306 e-mail: [email protected] [email protected] Please visit our website at: www.ursusbooks.com Shop Hours: Monday-Friday 10:30 - 6:00 Saturday By Appointment All prices are net. Postage, packing and insurance are extra. Cover No. 5, da Cortona Back cover No. 23, Chevreul Ursus Rare Books New York City Contents: Part I: Model Books & Artistic Instruction Part I: Model Books & Artistic Instruction FIRST EDITION -- EXCESSIVELY RARE Items 1-16 1. Jost AMMAN Enchiridion artis pingendi, fingendi & sculpendi. [112] leaves. Collation: (:)4, A-Z4, a-d4. Title- page within a woodcut border, 3 ff. (dedication to Part II: Colour Theory Hieronymus August von Holtzhusen, with woodcut arms), plus 107 woodcuts by Jost Amman, and Items 17-38 with the final letterpress leaf (colophon). Small 4to., 168 x 125 mm, bound in 19th century calf, gilt front cover, orange and green leather spine labels. Frankfurt: Petrus Fabricius (Schmidt) for Siegmund Feyrabend, 1578. $ 27,500.00 Part III: Architecture & Perspective First Edition of one of the earliest model books Items 39-66 intended to aid painters, designers, engravers, and printers -- of the greatest rarity: OCLC records only the seriously defective copy at Cornell and the copy at Northwestern, which lacks 5 plates. Jost Amman (1539-1591) is recognized as one of the Part IV: Art History most expressive and sensitive woodcut artists of the sixteenth century; originally from Zurich, at the age of 21 he established himself in Nuremberg where Items 67-72 he continued the tradition of meticulous engraving in the manner of Durer and Beham, and there he received numerous commissions (more than 540 different prints by him are known). The woodcuts elegantly depict figures from antique mythology, costume designs, tournaments with swords and spears, horses, armorial escutcheons, Turkish soldiers, dancing couples, allegorical characters, contemporary scenes from literature and/or theater, and superb “models” intended to aide painters, designers, engravers and copyists of the day. Since it was designed specifically for use as a “Picture Book,” copies were heavily used and frequently fragmented: hence, there remain only a handful of copies extant in varying degrees of 2. Giovanni Battista. BETTI was sold at auction in 1993. 6 copies in America completeness. A’ Dilettanti delle Bell’Arti. according to OCLC. An unsophisticated copy, with occasional spots and minor stains, but nevertheless A German issue of this model book was issued Contents includes illustrated engraved title and appealing. in the same year; the work was reprinted, with 24 engraved plates. Oblong folio, 220 x 300 mm, additions, in 1580 (under the title Kunst und bound in contemporary paste-paper wrappers. Bonacini 200; Berlin Kat. 5300; Guilmard 332: See Lehrbüchlein); eleven years after Amman’s death (in Florence: 1779. Garvey, E.M. Introduction to the 1969 Facsimile 1599), 293 of his woodcuts were republished under $ 12,500.00 published by Harvard. (#165360) the title Kunstbüchlein, Darinnen neben Fürbildung vieler, Geistlicher und Weltlicher, Hohes and Nider stands Personen First Edition of Betti’s imaginative illustrated (for which see the Dover facimile). All three editions alphabet-book, containing 24 full-page oblong are of cosmic rarity. Our copy is complete and aside plates of richly ornamented capital letters, each letter 3. Abraham and Frederik from inconsequential mariginal thumb-staining and standing in a bucolic landscape with a corresponding a small repaired marginal tear leaf c3, it remains in a BLOEMAERT figure from Greek or Roman mythology. It is a work Oorspronkelyk en Vermaard Konstryk fine state of preservation. “rare and distinctive for the range of its subjects” (DBI) and draws heavily on the imagery of pastoral Tekenboek van Abraham Bloemaart, geestryk Andresen 237. Becker 27. Hollstein p. 51. Colas Greece. getekent, en meesterlyk Gegraveert by zyn Zoon, 117 (Part I) and 118 (Part II). Lipperheide 498 and Frederik Bloemaart ... in een gevoegelyke Ordre Fairfax-Murray, German 36 (the 1599 edition only). According to American Book Prices Current, no geschikt door den beroemden Bernard Picart. Berlin Katalog 4757 (for the first edition and Part II other copy of the first edition has sold at auction in only of the 1580 edition). (#167311) at least 35 years; a copy of the 1785 second edition [7] ff. With title to part one numbered “1” overlaid with chiaroscuro serving as frontispiece, engraved title vignette (signed F. Ottens) and architectural dedication page (signed J. C. Philips, 1740); portrait of Abraham Bloemaert (F. Bloemaert after P. Morelsen) and illustrated with a further 165 etched and engraved plates (numbered “2”-”166”) by F. Bloemaert after A. Bloemaert, plus 7 duplicates (nos. 80, 94, 95, 108, 137, 144 and 145) being combined engravings and chiaroscuros. Folio, 396 x 280 mm, bound in contemporary three-quarter Dutch brown calf over marbled boards, red morocco spine label. Amsterdam: Reinier and Josua Ottens, 1740. $ 18,500.00 Second and Best Edition of Abraham Bloemaert’s famed Drawing Book (Tekenboek), profusely illustrated with line engravings and chiaroscuros by Frederik Bloemaert after his father’s designs. Bloemaert’s life drawings include multiple studies of heads, feet, and hands, nudes, putti and costumed figures, seen in various poses, from varied angles, and under various lighting conditions; animals and “historical” subjects round out this academic panorama. The most dramatic feature of the Drawing Book, and this copy in particular, is the series of chiaroscuro prints, whereby the otherwise monochromatic images are awash with ochre color and areas of the white paper showing through read as brilliant highlights. (Continued) The present copy belongs to the second and most Engraved title-page. Illustrated with 35 engraved preferred edition (Roethlisberger I, 392 edition plates. Paris: Jean Le Clerc, 1610. BOUND 2), containing 47 more plates than appeared in BEFORE: the exceedingly rare first edition of 1650/56 -- issued under a different title, Artis Apellae Liber, COUSIN, Jean. Livre de pourtraiture de Maistre Jean (Roethlisberger state 1); it is known to survive in 3 Cousin, peintre et géometrien, tres-excellent. Contenant par copies only. The Ottens 1740 edition also contains 7 une facile instruction, plusieurs plans & figures de toutes chiaroscuros not present in the what is considered the les parties séparées du corps humain. [80] pp. Title. first edition of Bloemaert’s Tekenboek, the Visscher Illustrated with 36 full page woodcuts. Paris: Jean issue of 1679/1702 (Roethlisberger state 1a). “The Le Clerc, 1612. BOUND WITH: edition contains Frederick’s plates of the Visscher edition as compounded and renumbered in 1723 by HONDIUS, Henry. Fundamentales regulae artis Bernard Picart for Renard, lavishly published in 1740 pictoriae et sculpt. Title page. Illustrated with 43 by Reinier and Josua Ottens... Picart (1673-1733), the engraved plates (of 50). [Den Haag, ca. 1600]. finest and most famous engraver of his time, worked mainly for the book market” (Roethlisberger). It Oblong 4to., 200 x 260 mm, bound together in is significant that Roethlisberger, in his massive contemporary vellum with the arms of Henri Louis catalogue of the work of Abraham Bloemaert and His Habert de Montomor stamped on the front and Sons (Doornspijk, 1993), reproduces this second back cover, four ties. Preserved in a recent brown edition in its entirety. half morocco folding box. $ 22,500.00 Abraham Bloemaert (1564-1651) was remarkably successful as a teacher not only of his four sons but also A splendid sammelband of rare model books for of the leading Dutch Caravaggisti (e.g., Terbrugghen artists from the beginning of the 17th century, and Honthorst) and virtually every Utrecht master. bound together by a contemporaneous collector. Besides Hendrik Goltzius, Abraham Bloemaert From the distinguished collection of Hippolyte and his son Frederik were among the earliest to Destailleur. combine the chiaroscuro woodblock technique with the engraved and etched line (Hind). Unlike most Ad 1: First and only edition of this exceptionally drawing books “Bloemaert’s drawing examples are rare suite of engravings from the French painter and not derived from other authors.” (Bolton). Marbled engraver, Nicolas Bollery (or Bolleri). The delicately boards rubbed, otherwise a fine copy. engraved plates are sourced from paintings of Italian masters to serve as a model book for young Roethlisberger no. 792 (reproduced and described artists, depicting all aspects of the human body from as T1-T166). Bolten, Method and Practice: Dutch and various angles. Bollery (ca. 1560-1630) produced Flemish Drawing Books 1600-1750 pp. 48-67 and passim several paintings for Notre-Dame de Paris and (24 reproductions). Hollstein, Dutch and Flemish is perhaps best known for his engravings on the (F. Bloemaert) 36-155. Strauss, Chiaroscuro 346-65 theme of Henry IV of France’s entry into Paris. (errors). (#166928) One of the portraits is signed in the plate by the Flemish engraver, Jan van Halbeeck, known for helping introduce the copper engraving technique to the French. Worldcat locates no copies in the 4. Nicolas BOLLERI US, however the Metropolitan Museum of Art does Livre de portraiture, contenant par une facille appear to have a copy. instruction plusieurs plans et figures de toutes les Ad 2: A rare seventeenth century edition [4th?] of parties sépareés du corps humain, recueillies des Jean Cousin the Younger’s popular drawing book plus excellens paintres de toutte l’Istallye, pour which went through many editions throughout bien aprendre les vrais fondemens de la painture the next century and a half. Cousin the Younger et sculpture. (1522 - ca. 1594) was the son Jean Cousin the Elder 5. Pietro da CORTONA Tabulae Anatomicae a Celeberrimo Pictore Petro Berrettino Cortonesi. Text by Cajetano Petrioli. [4], 84 pp.
Load more

Recommended publications
  • LOT TYPESET LOW HIGH 7000 German Porcelain Figural Group
    LOT TYPESET LOW HIGH 7000 German porcelain figural group, depicting a pianist and dancers, each dressed in classical $ 500 $ 700 attire with crinoline accents, marked with underglaze blue mark, 11.5"h x 16"w x 9"d 7001 Framed group of 32 Wedgwood jasperware medallions, each depicting British royalty, $ 300 $ 500 overall 17.5"h x 33"w 7002 (lot of 2) Continental polychrome decorated pill boxes, including a Meissen example, $ 300 $ 500 largest 1"h x 2.5"w 7003 (lot of 2) Meissen figural candlestick group 19th century, each depicted holding a child, one $ 1,200 $ 1,500 figure in the Bacchanalian taste, having a grape cluster wreath, each depicted in Classical attire, and rising on a Rococco style base with bird form reserves, underside with underglaze blue cross sword mark, 13,5"h 7004 Continental style gilt bronze footed compote, having a garland swag decorated frieze $ 600 $ 900 flanking the ebonized bowl, above the fish form gilt bronze standard, and rising on a circular marble base, 8.5"h x 8"w 7005 (lot of 8) French hand painted porcelain miniature portraits; each depicting French royalty $ 800 $ 1,200 including Napoleon, and numerous ladies, largest 4"h x 3"w Provenance: from the Holman Estate in Pacific Grove. The Holman family were early residents of the Monterey Peninsula and established Holman's Department Store in the center of Pacific Grove, thence by family descent 7006 French Grand Tour style silver gilt mythological figure, depicting Bacchus or Dionysus, $ 1,500 $ 2,000 modeled as standing on a mound of grapes and leaves holding
    [Show full text]
  • Notes Toward a Study of Neighborhood Festivals in Modern Tokyo
    The Shrine : Notes toward a Study of Neighborhood Festivals in Modern Tokyo By A.W. S a d l e r Sarah Lawrence College When I arrived in Japan in the autumn of 1965, I settled my family into our home-away-from-home in a remote comer of Bunkyo-ku3 in Tokyo, and went to call upon an old timer，a man who had spent most of his adult life in Tokyo. I told him of my intention to carry out an exhaustive study of the annual festivals (taisai) of a typical neighbor­ hood shrine (jinja) in my area of residence，and I told him I had a full year at my disposal for the task. “Start on the grounds of the shrine/，was his solid advice; “go over every tsubo '(every square foot3 we might say)，take note of every stone, investigate every marker.” And that is how I began. I worked with the shrines closest to home so that shrine and people would be part of my everyday life. When my wife and I went for an evening stroll, we invariably happened upon the grounds of one of our shrines; when we went to the market for fish or pencils or raaisnes we found ourselves visiting with the ujiko (parishioners; literally，children of the god of the shrine, who is guardian spirit of the neighborhood) of the shrine. I started with five shrines. I had great difficulty arranging for interviews with the priests of two of the five (the reasons for their reluc­ tance to visit with me will be discussed below) ; one was a little too large and famous for my purposes，and another was a little too far from home for really careful scrutiny.
    [Show full text]
  • Falda's Map As a Work Of
    The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676.
    [Show full text]
  • Pietro Da Cortona in Nineteenth-Century Children's
    The Painter and the Scullery Boy: Pietro da Cortona in Nineteenth-Century Children’s Literature* Lindsey Schneider Pietro Berrettini (1597-1669), called Pietro da Cortona, was one of the most influential artists in seventeenth-century Italy and was celebrated as the premier decorative painter of his generation, most notably for his ceiling in the Barberini Palace in Rome (1633-39). His reputation began to suffer soon after his death, however, due in large part to changing standards of taste that no longer tolerated the extravagances of the High Baroque style that he helped to develop and with which he is indelibly linked.1 In 1692 the director of the French Academy in Rome, Matthieu de La Teulière, reported back to Paris that, ‘Pietro da Cortona and his school have spread such great debauchery here, operating under the guise of virtuosity, *<+ giving everything over to the whims of their imaginations,’2 and made similar statements the following year, in which he charged Cortona, Bernini and Borromini with ruining the fine arts with their excess.3 This view endured over the ensuing centuries and the trope of the Baroque as a diseased and cancerous style – with Cortona as one of its prime vectors of transmission – became commonplace in art-theoretical literature. Nearly a century after La Teulière, Francesco Milizia vilified the same trio of artists, saying that Cortona, along with Borromini and Bernini, ‘represent a diseased taste – one that has infected a great number of artists’.4 In London around the same time, James Barry singled Cortona
    [Show full text]
  • Visual Exemplars, Family Politics, and Gender Ideology in Baroque Rome
    HEROINES AND TRIUMPHS: VISUAL EXEMPLARS, FAMILY POLITICS, AND GENDER IDEOLOGY IN BAROQUE ROME Katherine M. Poole-Jones A 1639 inventory of the Palazzo Sacchetti in Rome reveals the display of four large paintings in the apartment of the family matriarch: Pietro da Cortona’s The Sacrifice of Polyxena, The Rape of the Sabines, and The Triumph of Bacchus, and a copy after Nicolas Poussin’s The Triumph of Flora. The imagery and placement of these artworks raises crucial and as yet unexplored issues of reception and ideological function. One must consider how a Baroque female viewer, differently from her male counterparts, might have understood these paintings, which I will situate within the tradition of didactic domestic imagery produced in early modern Italy. DOI: 10.18277/makf.2015.10 room-by-room inventory of the Palazzo Sacchetti in Rome, dating from 1639, reveals the presence of four large easel paintings in the sala (entry room) of the apartment of the family matriarch, generally accepted to be Cassandra Ricasoli-Ruccellai.1 The Sacchetti was a family with prominent Florentine roots, but during the Asecond half of the sixteenth century, Giovanni Battista Sacchetti (1540–1620) resettled his clan in Rome, and it was the second youngest of his sons, Matteo (1593–1659), who married Cassandra in 1637.2 The four paintings, three by Pietro da Cortona, The Rape of the Sabines (fig. 1), The Sacrifice of Polyxena (fig. 2), and The Triumph of Bacchus (fig. 3), and a copy after Nicolas Poussin’s The Triumph of Flora (fig. 4), are widely acknowledged to have been commis- sioned or acquired by the eldest of Giovanni Battista’s sons, Marcello (1586–1629), an avid collector and key figure in the intellectual circle of Pope Urban VIII.3 Fig.
    [Show full text]
  • FINE ARTS 343 – BAROQUE ART COURSE SYLLABUS – FALL SEMESTER 2017 MEETING: Tuesday, 9:30 Am – 12:30 PM
    FINE ARTS 343 – BAROQUE ART COURSE SYLLABUS – FALL SEMESTER 2017 MEETING: Tuesday, 9:30 am – 12:30 PM. Instructor: John Nicholson Course Description The course is a study of the visual arts from the late sixteenth to the mid-eighteenth centuries, the period labeled Baroque in art history. Art historians agree that this style originated in Rome “The cradle of the Baroque was Italy and the artistic capital of Italy was Rome.” The Baroque has a been seen as the expression of a new spirit in the Catholic Church and Papacy following the Counter Reformation which affirmed the pictorial arts have an essential role as a stimulus to devotion and a means of religious instruction. Under the stimulus of ecclesiastical patronage, many artists contributed to this movement: Caravaggio, Annibale Carracci, Franceso Borromini, Pietro da Cortona, and especially Gian Lorenze Bernini who has been called the “artistic dictator” of Rome during the period. From Rome, the Baroque spread to other parts of Europe; the course will also study some aspect of the international Baroque. This study will be implemented through classroom lectures and discussion, but especially through on-site visits for a direct contact with the masterS of the Roman Baroque and their works. Course Objectives - An introduction to the basic problems of art historical study: historical context, the roles of artist and patron, techniques, iconography, and style. - An understanding of the distinctive features of the arts in the Baroque period within the context of Rome’s Christian heritage, the role of the Papacy, and the renewal in the Church following the Counter Reformation.
    [Show full text]
  • Japanese Garden
    満開 IN BLOOM A PUBLICATION FROM WATERFRONT BOTANICAL GARDENS SPRING 2021 A LETTER FROM OUR 理事長からの PRESIDENT メッセージ An opportunity was afforded to WBG and this region Japanese Gardens were often built with tall walls or when the stars aligned exactly two years ago! We found hedges so that when you entered the garden you were out we were receiving a donation of 24 bonsai trees, the whisked away into a place of peace and tranquility, away Graeser family stepped up with a $500,000 match grant from the worries of the world. A peaceful, meditative to get the Japanese Garden going, and internationally garden space can teach us much about ourselves and renowned traditional Japanese landscape designer, our world. Shiro Nakane, visited Louisville and agreed to design a two-acre, authentic Japanese Garden for us. With the building of this authentic Japanese Garden we will learn many 花鳥風月 From the beginning, this project has been about people, new things, both during the process “Kachou Fuugetsu” serendipity, our community, and unexpected alignments. and after it is completed. We will –Japanese Proverb Mr. Nakane first visited in September 2019, three weeks enjoy peaceful, quiet times in the before the opening of the Waterfront Botanical Gardens. garden, social times, moments of Literally translates to Flower, Bird, Wind, Moon. He could sense the excitement for what was happening learning and inspiration, and moments Meaning experience on this 23-acre site in Louisville, KY. He made his of deep emotion as we witness the the beauties of nature, commitment on the spot. impact of this beautiful place on our and in doing so, learn children and grandchildren who visit about yourself.
    [Show full text]
  • Newsletter 13 (June 2014)
    June 2014 - Volume 6 - Issue 2 June 2014 - Volume 6 - Issue 2 国際基督教大学ロータリー平和センター ニューズレター ICU Rotary Peace Center Newsletter Rotary Peace Center Staff Director: Masaki Ina Associate Director: Giorgio Shani G.S. Office Manager: Masako Mitsunaga Coordinator: Satoko Ohno Contact Information: Rotary Peace Center International Christian University 3-10-2 Osawa, Mitaka, Tokyo 181-8585 Tel: +81 422 33 3681 Fax: +81 422 33 3688 [email protected] http://subsite.icu.ac.jp/rotary/ Index In this issue: 2 - Trailblazing Events 4 - Preparing For Peace 5 - Experiential Learning Reflections 7 - Meet The Families of Class XII Fellows 10 - Class XI Thesis Summaries 15 - Class XII AFE Placements 16 - Gratitude and Appreciation from Class XII 1 Trailblazing Events ICU Celebrates First Ever Black History Month by Nixon Nembaware Being an International University, ICU brings together students and Faculty members of various backgrounds and races. It is thus a suitable place to cultivate understanding of different cultures and heritages. This was the thinking that Rotary Peace Fellow Class XII had in mind when they partnered with the Social Science Research Institute to celebrate the first ever Black History Month commemoration at ICU. Two main events were lined up, first was a dialogue with Dr. Mohau Pheko, Ambassador of the Republic of South Africa to Japan who visited our campus to give an open lecture on the legacy of ‘Nelson Mandela’ and the history of black people in South Africa. Second was a dialogue with Ms. Judith Exavier, Ambassador of the Republic of Haiti to Japan. She talked of the history of the black people in the Caribbean Island and linked the history of slavery to what prospects lie ahead for black people the world over.
    [Show full text]
  • And Anja Grebe. of Particular Importance Is the Study of The
    BR.DEC.pg.proof.corrs:Layout 1 16/11/2011 15:14 Page 827 BOOKS and Anja Grebe. Of particular importance is the study of the impact of Bolognese art Raw Painting: ‘The Butcher’s Shop’ in France, where the birth of classicism is by Annibale Carracci. By C.D. Dickerson closely connected to such key figures as III. 93 pp. incl. 59 col. + 2 b. & w. ills. Sebastiano Serlio and Francesco Primaticcio, (Kimbell Art Museum, Fort Worth, and well documented in essays by Sabine From- Yale University Press, New Haven mel, Dominique Cordellier and Sara Benzi. and London, 2010), $16.95. Sabine Frommel highlights Serlio’s extraor- ISBN 978–0–300–16640–8. dinary ability to invent a new artistic mode, an amalgam of the grand style of the artist’s Reviewed by XAVIER F. SALOMON home town and his thorough knowledge of classical culture, probably learned in the OVER THE PAST five years, the Kimbell Art humanistic and antiquary circles of Bologna. Museum in Fort Worth, has published a In Serlio’s sixth book he demonstrates series of illuminating and beautifully pro- his ability to use both French and Italian duced small books focusing on masterpieces 58. The butcher’s shop, by Annibale Carracci. c.1582. architectural languages, as did Primaticcio, from the Museum’s permanent collection. Canvas, 59.7 by 71 cm. (Kimbell Art Museum, Fort whose pictorial and architectural styles The volumes so far have ranged in topics Worth). were inspired by the decorations in Giulio from a fifteenth-century German silver Romano’s Palazzo Te at Mantua, as is sculpture of the Virgin and Child, to a panel familiar context.
    [Show full text]
  • Downloaded from Brill.Com10/10/2021 01:00:04AM Via Free Access
    Chapter 9 The Neugebäude Figure 9.1 Nicolas Neufchatel, Emperor Maximilian ii, 1566, Vienna, Kunsthistorisches Museum. © dirk jacob jansen, ���9 | doi:�0.��63/9789004359499_0�� This is an open access chapter distributed under the terms of the prevailing cc-by-ncDirk-nd Jacob License. Jansen - 9789004359499 Downloaded from Brill.com10/10/2021 01:00:04AM via free access <UN> The Neugebäude 431 9.1 The Tomb of Ferdinand i and Anna in Prague; Licinio’s Paintings in Pressburg While in the act of drawing his proposals for the Munich Antiquarium, Strada appears to have been quite busy with other concerns. It is likely that these con- cerns included important commissions from his principal patron, the Emperor Maximilian ii [Fig. 9.1], who had been heard to express himself rather dis- satisfied with Strada’s continued occupation for his Bavarian brother-in-law. Already two year earlier, when Duke Albrecht had ‘borrowed’ Strada from the Emperor to travel to Italy to buy antiquities and works of art and to advise him on the accommodation for his collections, Maximilian had conceded this with some hesitation, telling the Duke that he could not easily spare Strada, whom he employed in several projects.1 Unfortunately Maximilian did not specify what projects these were. They certainly included the tomb for his parents in St Vitus’ Cathedral in Prague, that was to be executed by Alexander Colin, and for which Strada had been sent to Prague already in March of 1565 [Figs. 9.2–9.3]. As with his earlier in- volvement in the completion of the tomb of Maximilian
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • Profiling Women in Sixteenth-Century Italian
    BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and
    [Show full text]