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Name of Object: Apollo and Daphne Location: Rome, Italy Holding
Name of Object: Apollo and Daphne Location: Rome, Latium, Italy Holding Museum: Borghese Gallery Date of Object: 1622–1625 Artist(s) / Craftsperson(s): Gian Lorenzo Bernini (1598, Naples-1680, Rome) Museum Inventory Number: CV Material(s) / Technique(s): Marble Dimensions: h: 243 cm Provenance: Borghese Collection Type of object: Sculpture Description: This sculpture is considered one of the masterpieces in the history of art. Bernini began sculpting it in 1622 after he finished The Rape of Proserpina. He stopped working on it from 1623 to 1624 to sculpt David, before completing it in 1625. With notable technical accuracy, the natural agility of this work shows the astonishing moment when the nymph turns into a laurel tree. The artist uses his exceptional technical skill to turn the marble into roots, leaves and windswept hair. Psychological research, combined with typically Baroque expressiveness, renders the emotion of Daphnes terror, caught by the god in her desperate journey, still ignorant of her ongoing transformation. Apollo, thinking he has achieved his objective, is caught in the moment he becomes aware of the metamorphosis, before he is able to react, watching astonished as his victim turns into a laurel tree. For Apollos head, Bernini looked to Apollo Belvedere, which was in the Vatican at the time. The base includes two scrolls, the first containing the lines of the distich by Maffeo Barberini, a friend of Cardinal Scipione Borghese and future Pope Urban VIII. It explores the theme of vanitas in beauty and pleasure, rendered as a Christian moralisation of a profane theme. The second scroll was added in the mid-1700s. -
Front Matter
Cambridge University Press 978-0-521-72855-3 - The Cambridge Companion to Giovanni Bellini Edited by Peter Humfrey Frontmatter More information the cambridge companion to giovanni bellini Giovanni Bellini was the dominant painter of Early Renaissance Venice and is today recognized as one of the greatest of all Italian Renaissance artists. Although he has been the subject of numerous scholarly studies, his art continues to pose intriguing problems. This volume brings together com- missioned essays that focus on important topics and themes in Bellini’s ca- reer. They include a consideration of Bellini’s position in the social and professional life of early modern Venice; reassessments of his artistic rela- tionships with his brother-in-law Mantegna, with Flemish painting, and with the “modern style’’ that emerged in Italy around 1500; and explorations of Bellini’s approaches to sculpture and architecture, and to landscape and color, elements that have always been recognized as central to his pictorial genius. The volume concludes with analyses of Bellini’s constantly evolving pictorial technique and the procedures of his busy workshop. Peter Humfrey is Professor of Art History at the University of St Andrews. He is the author of several books on painting in Renaissance Venice and the Veneto, including Cima da Conegliano, The Altarpiece in Renaissance Venice, and Lorenzo Lotto; and is coauthor of the catalogues for two major loan exhibitions, Lorenzo Lotto: Rediscovered Master of the Renaissance and Dosso Dossi: Court Painter of Renaissance -
The Marian Philatelist, Whole No. 46
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 1-1-1970 The Marian Philatelist, Whole No. 46 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 46" (1970). The Marian Philatelist. 46. https://ecommons.udayton.edu/imri_marian_philatelist/46 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W^J. Hoffman Editor Orange, California 92667, U.S.A. Vol. 8 No. 1 Whole No. 46 JANUARY 1, 1970 New Year's Greetings to all our members. Thanks to the assistance of one of our members we are able, at least temporarily, to continue the publication of THE MARIAN PHILATELIST. In the name of all our members I wish to thank Mr. Hoffman for his con stant devotion to the study of the Blessed Virgin on stamps. His unselfish contribu tion in time and effort has made the continuation of our paper possible. May God bless you. Father Horn NEW ISSUES ANGUILLA: The philatelic press indicated that a 4-stamp Christmas set would be issu ed, and gave designs and values as listed on page 65 of the November 1969 issue. -
San Geminiano Bib.Pdf
Helena Anderson, Oliver Cano, Catherine Scluzacek, Doris Zhao ART 294: Art & Architecture of Early Modern Venice San Geminiano Group Project Preliminary Bibliography Text: Boucher, Bruce and Donata Battilotti. "Sansovino." Grove Art Online. Oxford Art Online. 21 Feb. 2010 <http://www.oxfordartonline.com/subscriber/article/grove/art/T075803pg1>. Boucher, Bruce, and Iacopo Sansovino. The sculpture of Jacopo Sansovino. New Haven, CT: Yale University Press, 1991. Howard, Deborah. Jacopo Sansovino: Architecture and Patronage in Renaissance Venice. New Haven, CT: Yale University Press, 1987. Howard, Deborah. The Architectural History of Venice. Rev. New Haven, CT: Yale University Press, 2002. Huguenaud, Karine. "Ala Napoleonica in Piazza San Marco - Venice." Places, Museums, and Monuments. 31 Dec 2008. The Fondation Napoleon, Web. 21 Feb 2010. <http://www.napoleon.org/en/magazine/museums/files/Ala_Napoleonica_in_Piazza1.asp >. Lotz, Wolfgang. "The Roman Legacy in Sansovino's Venetian Buildings." The Journal of the Society of Architectural Historians. 22. 1 (1963): 3-12. Martin, Thomas. Alessandro Vittoria and the portrait bust in Renaissance Venice: remodelling antiquity. Clarendon studies in the history of art. Oxford [England]: Clarendon Press, 1998. McAndrew, John. "Sant'Andrea Della Certosa." The Art Bulletin 51.1 (1969): 15-28. McCarthy, Mary. Venice Observed. Art and places, 1. Paris: G. & R. Bernier, 1956. Munk, Judith, and Walter Munk. "Venice Hologram." Proceedings of the American Philosophical Society 116.5 (1972): 415-42. Milizia, Francesco, and Eliza Taylor tr Cresy. The lives of celebrated architects, ancient amd modern: with historical and critical observations on their works, and on the principles of the art. London: J. Taylor, 1826. Vasari, Giorgio, Betty Burroughs, and Jonathan Foster. -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
The Toilet of Venus Circle of Veronese
THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations................................................................................................................................................... -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Catalogue of the Splendid Collection of Pictures
CATALOGUE OP THE SPLENDID COLLECTION OF PICTURES BELONGING TO PRINCE LUCIEN BUONAPARTE; WHICH WILL BE EXHIBITED FOR SALE BY PRIVATE CONTRACT, ON MONDAY THE SIXTH DAY OF FEBRUARY, 1815, AND FOLLOWING DAYS, AT THE NEW GALLERY, (MR. BUCHANAN’S) No. 60, PALL-MALL. ADJOINING THE BRITISH GALLERY". % Admittance One Shilling.— Descriptive Catalogue Eighteen-pence, .In England, where there is no National Gallery for the reception of the chefs-d’oeuvre of the Great Mas¬ ters of the various schools, where the amateur or the student might at all times have an opportunity of improving his taste, or forming his. knowledge on works of art, every thing must naturally be considered as desirable, which can in any degree tend to afford facility for such study, or acquirements. The numerous applications which have been made to view the Collection of Pictures belonging to Prince •Lucien Buonaparte have induced those under whose direction it has been placed, to open the New Gallery, in Pall-Mall, to the Public, in the manner usually adopted in this country : they have also resolved to allow the Collection itself to he separated, and sold, in the same manner as the celebrated Collection of the Duke of Orleans; being convinced that Collectors will feel more satisfied in having an opportunity afforded them of gratifying their wishes individually, by a selection of such pictures as may suit the taste of each purchaser. 2 This Collection has been formed from many of the principal Cabinets on the Continent, during a period of the last fifteen years; and not only has the greatest attention been paid to a selection of agreeable subjects of the different masters, but also to the quality and state of preservation of the pictures themselves. -
Development of Form Making of Door Knockers in Italy in the Xv-Xvii Centuries
Man In India, 96 (12) : 5677-5697 © Serials Publications DEVELOPMENT OF FORM MAKING OF DOOR KNOCKERS IN ITALY IN THE XV-XVII CENTURIES Tatiana Evgenievna Trofimova* Abstract: Decorative art items - door knockers - combine practical and esthetic features. At the same time they are a part of everyday and art culture, and can tell much about the ideology, lifestyle of the society, and the level of the artistic crafts development at the time when they were created. The goal of this research is to study the role and purpose of door knockers in the Italian culture of the XV-XVII centuries, to research door knockers that continue decorating doors of various Italian cities and towns, to study in details Italian door knockers of the golden age of the bronze-casting art through the samples from the Hermitage in Saint-Petersburg. For this research it was necessary to solve the following tasks: to put the generalized illustrative material in the historical succession, to consider form making of door knockers in accordance with the architectural styles, and symbolic meaning, to define characteristic features of the artistic expression, to reveal regularities in form making and decorating of door knockers, as well as to study and describe samples from the Hermitage in Saint-Petersburg as the best examples of Italian door knockers of the XV-XVII centuries. The following methods were used during the research: - References and analytical: reproduction of the general picture of the development of various forms of door knockers, searching for and systematization -
Mars and Venus Surprised by Vulcan
Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Anne W. Lowenthal GETTY MUSEUM STUDIES ON ART Malibu, California Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Joachim Wtewael (Dutch, 1566-1638). Cynthia Newman Bohn, Editor Mars and Venus Surprised by Vulcan, Amy Armstrong, Production Coordinator circa 1606-1610 [detail]. Oil on copper, Jeffrey Cohen, Designer 20.25 x 15.5 cm (8 x 6/8 in.). Malibu, J. Paul Getty Museum (83.PC.274). © 1995 The J. Paul Getty Museum 17985 Pacific Coast Highway Frontispiece: Malibu, California 90265-5799 Joachim Wtewael. Self-Portrait, 1601. Oil on panel, 98 x 74 cm (38^ x 29 in.). Utrecht, Mailing address: Centraal Museum (2264). P.O. Box 2112 Santa Monica, California 90407-2112 All works of art are reproduced (and photographs provided) courtesy of the owners unless otherwise Library of Congress indicated. Cataloging-in-Publication Data Lowenthal, Anne W. Typography by G & S Typesetting, Inc., Joachim Wtewael : Mars and Venus Austin, Texas surprised by Vulcan / Anne W. Lowenthal. Printed by C & C Offset Printing Co., Ltd., p. cm. Hong Kong (Getty Museum studies on art) Includes bibliographical references and index. ISBN 0-89236-304-5 i. Wtewael, Joachim, 1566-1638. Mars and Venus surprised by Vulcan. 2. Wtewael, Joachim, 1566-1638 — Criticism and inter- pretation. 3. Mars (Roman deity)—Art. 4. Venus (Roman deity)—Art. 5. Vulcan (Roman deity)—Art. I. J. Paul Getty Museum. II. Title. III. Series. ND653. W77A72 1995 759-9492-DC20 94-17632 CIP CONTENTS Telling the Tale i The Historical Niche 26 Variations 47 Vicissitudes 66 Notes 74 Selected Bibliography 81 Acknowledgments 88 TELLING THE TALE The Sun's loves we will relate. -
Impressionist & Modern
Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale. -
Beaumont Art League Summer Activities
A View From The Top Greg Busceme, TASI Director THIS IS OUR SUMMER ISSUE which is fol- 50 organizations receive a $1,000 grant. lowed by two months of limited communi- We are grateful for The Stark cation by mail or print. Foundation’s contribution to The Art This is partially by design and partial- Studio. The funds will go to rebuilding our ly by necessity to give us a chance to security fence around the Studio yard and recover from our printing and mailing improving our parking arrangements — Vol. 17, No. 9 ISSUE costs for monthly invitations and newspa- an integral part of an ongoing project to pers. Printing costs alone average about revitalize our facility as we recover fully Publisher . The Art Studio, Inc. $580 a month. from the storms. We already have part- Editor . Andy Coughlan This is not just to whine but to let ners in this project beginning with Boy Copy Editor . Tracy Danna everyone know we are getting serious Scout Eagle candidate Brandon Cate. In Contributing Writers . Elena Ivanova about membership renewals and new pursuit of being an Eagle Scout, Brandon Distribution Volunteer . Elizabeth Pearson members. For the first time, we can only has taken on the task of striping our new send exhibition announcements and parking area for improved space and a The Art Studio, Inc. Board of Directors ISSUE to members in good standing. safer environment. On our part, we will We hope those non-members who use the Stark funds to get the material President Ex-Officio . Greg Busceme have been enjoying our mailings remem- necessary to put up a fence on the front of Vice-President.