DOCSLIB.ORG

Cornelius Ver Heyden De Lancey Collection of French Letters and Documents by Painters, Sculptors, Architects, and Printmakers, 1691-1825, Undated

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cornelius Ver Heyden De Lancey Collection of French Letters and Documents by Painters, Sculptors, Architects, and Printmakers, 1691-1825, Undated http://oac.cdlib.org/findaid/ark:/13030/c8np29zb Online items available Finding aid for the Cornelius Ver Heyden de Lancey collection of French letters and documents by painters, sculptors, architects, and printmakers, 1691-1825, undated Sarah Mackenzie Wade Finding aid for the Cornelius Ver 2017.M.62 1 Heyden de Lancey collection of French letters and docume... Descriptive Summary Title: Cornelius Ver Heyden de Lancey collection of French letters and documents by painters, sculptors, architects, and printmakers Date (inclusive): 1691-1825, undated Number: 2017.M.62 Creator/Collector: Ver Heyden de Lancey, Cornelius, 1889-1984 Physical Description: 4.67 Linear Feet(4 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The Cornelius Ver Heyden de Lancey collection comprises manuscript correspondence and documents by over 75 painters, sculptors, architects, and printmakers, predominantly from 17th- and 18th-century France. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is primarily in French with some Danish and German. Modern research materials are in English. Biographical / Historical Dutch-born British baron Cornelius Ver Heyden de Lancey (1889-1984) was a medical doctor, dentist, and barrister, as well as an art historian and collector of French historical books, letters, and manuscripts. De Lancey studied medicine and dentistry at the University of Leiden, earned his dental degree in the United States, and practiced dentistry in London and Italy, where he developed his research interests in art history and the arts. In 1970, De Lancey and his wife, Josephine de la Hanty, founded the De Lancey and De La Hanty Foundation, an organization dedicated to the study of medical law that also sponsors arts initiatives in the Netherlands, the United Kingdom, and France. De Lancey died on Jersey in the Channel Islands in 1984. Sources consulted: About the Baron Ver Heyden de Lancey: 1889-1984, the website for the De Lancey Foundation, accessed July 23, 2018, http://www.delanceyfoundation.co.uk/#the-person. David Brafman, Acquisition Approval Form for Collection of French letters and documents by painters, sculptors, architects, and printmakers, accession no. 2017.M.62, March 10, 2017. Access Open for use by qualified researchers. Publication Rights Contact Library Reproductions and Permissions . Preferred Citation Cornelius Ver Heyden de Lancey collection of French letters and documents by painters, sculptors, architects, and printmakers, 1691-1825, undated, The Getty Research Institute, Los Angeles, Accession no. 2017.M.62. http://hdl.handle.net/10020/cifa2017m62 Immediate Source of Acquisition Acquired in 2017. Custodial History The repository's Cornelius Ver Heyden de Lancey collection was acquired in the 1980s by Adelheid A. Von Hohenlohe, the late wife of Ivan Volkoff. Many items in the collection bear de Lancey's blind stamp, Lugt 2701a. Processing Information Arranged and described in 2018 by Sarah Mackenzie Wade. Scope and Content of Collection Finding aid for the Cornelius Ver 2017.M.62 2 Heyden de Lancey collection of French letters and docume... The collection comprises manuscript correspondence and documents by over 75 painters, sculptors, architects, and printmakers, predominantly from 17th- and 18th-century France. Correspondence constitutes the bulk of the collection; additional materials include financial and legal documents such as manuscript receipts, promissory notes, discharges of debt, commission contracts for works of art, lease agreements, a royal brevet, and a partition of estate. The collection also includes signed statements by groups of artists and members of the royal academy. French artists represented in the collection include painters and draftsmen Nicolas de Largillierre and Hubert Robert; painters Louise-Élisabeth Vigée-Lebrun and Jean-Baptiste Regnault; academician Joseph-Siffrède Duplessis; architects Marie-Joseph Peyre, Michel-Barthélemy Hazon, Jean Chalgrin, and Ange-Jacques Gabriel; sculptors Laurent Guiard, Noël Jouvenet V, and Philippe-Laurent Roland; printmakers Noël Hallé, Nicolas Ponce, and Simon Thomassin; and engravers Jean Bernard Restout and Joseph-Marie Vien the elder. The collection also includes materials by Danish engraver Johan Frederik Clemens and German printmaker Johann Gotthard von Müller. The collection is arranged alphabetically, largely in adherence with the organization of Volkoff and Von Hohenlohe, with minor adjustments to accommodate standardized names of artists. Original manuscripts have been maintained alongside collectors' research and acquisition documents, which include annotated typescript descriptive notes for the Ver Heyden de Lancey acquisitions, twenty-first century laser printouts of electronic resource research materials assembled by Von Hohenlohe, and photographs of portraits of the artists. Collector dossier folders that comprise only modern English-language research materials were incorporated into folders containing the relevant French-language manuscripts. Von Hohenlohe's dossier numbers are detailed in descriptive notes at the component level. Arrangement Arranged alphabetically. Subjects - Names Volkoff, Ivan Von Hohenlohe, Adelheid A. Hallé, Noël, 1711-1781 Robert, Hubert, 1733-1808 Largillierre, Nicolas de, 1656-1746 Vigée-Lebrun, Louise-Elisabeth, 1755-1842 Peyre, Marie-Joseph, 1730-1785 Regnault, Jean-Baptiste, baron, 1754-1829 Restout, Jean-Bernard, 1732-1797 Vien, Joseph-Marie, 1716-1809 Duplessis, Joseph-Siffrède, 1725-1802 Chalgrin, Jean-François-Thérèse, 1739-1811 Gabriel, Ange-Jacques, 1698-1782 Guiard, Laurent, 1723-1788 Roland, Philippe-Laurent, 1746-1816 Hazon, Michel Barthelemy Jouvenet, Nöel V Müller, Johann Gotthard, 1747-1830 Clemens, Johan Frederik, 1748-1831 Subjects - Topics Art, French -- 17th century Art, French -- 18th century Art, French -- 19th century Artists -- France -- Correspondence Architects -- France -- Correspondence Painters -- France -- Correspondence Printmakers -- France -- Correspondence Sculptors -- France -- Correspondence Genres and Forms of Material Finding aid for the Cornelius Ver 2017.M.62 3 Heyden de Lancey collection of French letters and docume... Letters (correspondence) -- France -- 17th century Letters (correspondence) -- France -- 18th century Letters (correspondence) -- France -- 19th century Manuscripts (documents) -- France -- 17th century Manuscripts (documents) -- France -- 18th century Manuscripts (documents) -- France -- 19th century Chromogenic color prints Gelatin silver prints -- 21st century Photographs, Original Contributors Ver Heyden de Lancey, Cornelius, 1889-1984 Volkoff, Ivan Von Hohenlohe, Adelheid A. Cornelius Ver Heyden de Lancey collection of French letters and documents by painters, sculptors, architects, and printmakers Box 1, Folder 1 Académie Royale de Peinture et de Sculpture, Signed manuscript document, 1792 May 5 Scope and Content Note Minutes of an Académie Royale de Peinture et de Sculpture meeting concerning the widow Brouet's pension and M. Du Rameau's payment for arranging the Salon of 1791. Includes a black-and-white photograph of the document's signatures by academy members Vien, Pajou, Van Loo, Dejoux, Lecomte, Lagrenée, and Caffieri. Dossier no. 1. Box 4*, Folder 1 Adam, Lambert-Sigisbert, Letter to Cardinal Melchior de Polignac, 1730 November 9 Scope and Content Note Dossier no. 2. Box 1, Folder 2 Areslin, Jean-Paul, Signed manuscript document, 1781 April 17 Scope and Content Note Dossier no. 3. Box 1, Folder 3 Augustin, Jean-Baptiste-Jacques, Letter to Monsieur le Comte, 1825 January 15 Scope and Content Note Dossier no. 4. Box 1, Folder 4 Bélanger, François-Joseph, Letter to Jean-Frédéric Perregaux, 1791 May 31 Scope and Content Note Modern documentary materials include a black-and-white photograph of a portrait [of the artist?] and a color photograph of a Louis XVI style gilt-bronze marble table made after the 1781 model by Bélanger and Chalgrin. Dossier no. 5. Box 1, Folder 5 Bernard, Charles, Signed manuscript document, 1706 November 5 Scope and Content Note Dossier no. 6. Finding aid for the Cornelius Ver 2017.M.62 4 Heyden de Lancey collection of French letters and docume... Cornelius Ver Heyden de Lancey collection of French letters and documents by painters, s... Box 1, Folder 6 Bordenave de Pan, Letters to and from Charles-Claude, comte d'Angiviller, Versailles, 1778 July 26 Scope and Content Note Concerning the Déclaration du Roi, relative aux arts de peinture & de sculpture. Includes a color photograph of a portrait by Jean-Baptiste Greuze of Charles-Claude Flahaut de la Billarderie, comte d'Angiviller. Dossier no. 7. Box 1, Folder 7 Boulongne, Philippe, Signed partial manuscript receipt for royal funds, 1776 September 14 Scope and Content Note Also signed by Jean-Robert Boulongne and Jacques-Martin Roquet. Dossier no. 8. Box 1, Folder 8 Boze, Claude Gros de, Signed letter as secretary of the Académie Royale des Inscriptions et Belles Lettres, 1736 November 21 Scope and Content Note Dossier no. 9. Box 1, Folder 9 Brébion, Maximilien, Letter to Charles-Claude, comte d'Angiviller, with manuscript note, 1781 June 12-19 Scope and Content Note Concerning the June 8, 1781 fire at the Paris Opéra aux Tuileries. Dossier no. 10. Box 1, Folder 10
Load more

Recommended publications
  • Major Retrospective Brings Balthus Back to Rome
    Film Review ‘Paranormal Activity The Ghost Dimension’ SUNDAY, OCTOBER 25, 2015 38 Ining Dalmacio coaxes “Klondike,” a Pomeranian and inspired by the movie “Zorro,” during the annual dogs and cats pre-Halloween fashion show yesterday by Philippine Animal Welfare Society (PAWS) at suburban Quezon city, northeast of Manila, Philippines. The annual event is to raise awareness for the need to adopt or foster stray animals rescued by PAWS from the streets which now runs to hundreds. — AP (See more on Page 38) Major retrospective brings Balthus back to Rome althus is the subject of a major retrospective 77 and was largely responsible for the restoration Question of pedophilia opening this weekend in Rome, two years and reorganization of its home, the Villa Medici. Still This collection is lighter on the kind of images of Bafter a similar exhibition in New York sparked one of the city’s landmark buildings, the Villa is play- girls on the cusp of womanhood that led one critic controversy over the French painter’s erotically- ing host to a parallel exhibition which showcases to brand Balthus “one of the creepiest figures in charged depictions of barely pubescent girls. Nearly some of the artists’ major works completed during modern art” after the New York exhibition. Debray his time in Rome, his impact on the building and its acknowledges that painting “very young girls with a gardens and his working environment. very strong erotic suggestion” was a defining theme The main collection is being shown at the of Balthus’s work, but robustly dismisses any sug- Scuderie del Quirinale, the former stables of the gestion the work could be regarded as indicative a papal palace that is now the official residence of predatory sexual interest in minors.
    [Show full text]
  • The Political Role of the Louvre's Workshops Chandra
    1 Chapter 1 Artisans and the Construction of the French State: The Political Role of the Louvre's Workshops Chandra Mukerji Accounts of state formation in the social sciences tend to focus on institutional transformations, such as military and legal reform, or the capture of the elites, treating what are functional outcomes of state formation as causes. They do not seek explanations of how institutional restructuring became possible when it had not been possible before. They assume that early states could only become institutionally effective by capturing or organizing known forms of power (Adams 2005; Beik 1997; Brewer 1989; Kettering 1986; Mettam 1988; 1975; Wallerstein 1974). Yet this is precisely what weak states could not do. Their empowerment depended instead on a shift in political logics that made entrenched political formations less compelling. It required a cultural change. In the 17th century, the French state went from being particularly weak (Machiavelli and Donno 1966) to particularly strong-- an absolutist state according to Anderson (1974). The administration did not achieve this shift by wresting control of the army from nobles or impoverishing those at court, but rather, by constructing an art world (Becker 1982). Long after Louis XIV ascended the throne, nobles 2 still supplied troops to the army even as the state trained them (Lynn 1997), and nobles in favor with the king at Versailles gained special economic opportunities (Cole 1964). It took an organized program of cultural production, an art world nestled in the administration, to advance state power. Political change required a change in political imaginaries, and the state's art world did the imagining.
    [Show full text]
  • Simon Hantaï
    press release SIMON HANTAÏ 12 February - 11 May 2014 Villa Medici - Grandes Galeries Tuesday 11 February press preview 11.30. vernissage 18.30-20.30 curated by Éric de Chassey “Reaching, arriving, concluding are to be put into parentheses, if possible. Mastering what you do means that you won’t be able to even begin. It is merely the illustration of what is already known.” Simon Hantaï From 12 February to 11 May 2014 the French Academy in Rome – Villa Medici is presenting the first important Italian retrospective dedicated to Simon Hantaï, curated by Éric de Chassey. This exhibition has been devised and realized six years after the artist’s death in cooperation with the Centre Georges Pompidou, following the exhibition presented there from 22 May to 2 September 2013, which was curated by Dominique Fourcade, Isabelle Monod Fontaine and Alfred Pacquement, former director of the Musée National d’Art Moderne – Centre de Création Industrielle. It is now Villa Medici’s turn to give the public a chance to explore the works of this late twentieth century protagonist of abstractionism, who chose to live in Paris after a one-year sojourn in Italy. Éric de Chassey explains: “After visiting Hantaï’s first important posthumous retrospective I decided to bring about its Roman extension. […] First of all because very few artists succeed in combining art and thought, secondly because showing Hantaï’s work in Italy means returning him to one of the places which contributed to his birth as an artist following his 1948 sojourn, after having lived between Hungary, his homeland, and France, his adopted country.
    [Show full text]
  • Ibert Flute Concerto, Op. 37 Tchaikovsk
    Program ONe huNDReD TWeNTy-FiRST SeASON Chicago symphony orchestra riccardo muti Music Director Pierre Boulez helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 23, 2011, at 1:30 Tuesday, September 27, 2011, at 7:30 riccardo muti conductor mathieu Dufour flute rota Music from Il Gattopardo (The Leopard) Title Music Journey to Donnafugata Angelica and Tancredi 1 Angelica and Tancredi 2 The Prince’s Dreams Tancredi’s Departure Love and Ambition The Rigged Vote Finale First Chicago Symphony Orchestra performances Ibert Flute Concerto, Op. 37 Allegro Andante Allegro scherzando Mathieu DufouR IntermIssIon tchaikovsky Symphony No. 5 in e Minor, Op. 64 Andante—Allegro con anima Andante cantabile con alcuna licenza Waltz: Allegro moderato Finale: Andante maestoso—Allegro vivace This concert series is generously sponsored by Alexandra and John Nichols. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhiLLiP huSCheR nino rota Born December 3, 1911, Milan, Italy. Died April 10, 1979, Rome, Italy. music from Il Gattopardo (the leopard) hen Giuseppe di Lampedusa aristocracy—and in particular Wwas diagnosed with lung of the family of Don Fabrizio cancer in April 1957, he had been Corbera, prince of Salina—during trying to find a publisher for his the Risorgimento as Giuseppe historical novel Il Gattopardo (The Garibaldi, the leader for Italian leopard) for nearly a year. He died unification, and his forces swept in Rome that July—he received a through Sicily.
    [Show full text]
  • 1 ROMAMOR Anne and Patrick Poirier French Academy In
    ROMAMOR Anne and Patrick Poirier French Academy in Rome – Villa Medici 1 March – 5 May 2019 official opening 28 February 2019 at 7 pm curator Chiara Parisi Stéphane Gaillard, general secretary and acting director of the French Academy in Rome – Villa Medici, is delighted to be hosting, from 1 March to 5 May 2019, ROMAMOR, the first personal exhibition in Italy by Anne and Patrick Poirier. Curated by Chiara Parisi, this event rounds off the ambitious program designed by Muriel Mayette-Hotz, director from 2015 to 2018, who, from 2017, commissioned exhibitions by leading artists such as Annette Messager, Yoko Ono and Claire Tabouret, Elizabeth Peyton and Camille Claudel, Tatiana Trouvé and Katharina Grosse. Not to mention the many international names who contributed to the Ouvert la Nuit (Open at Night) exhibition in the gardens. In addition, there were two large- scale exhibitions celebrating the explorations and creations of the Villa's residents: Swimming is Saving and Take Me (I’m yours). Anne and Patrick Poirier are one of the international art scene's most famous couples. Their creative symbiosis crystallized here at the Villa more than fifty years ago: a kind of archeology driven by the test of time, the traces and scars of its passing, the fragility of the things humans build, and the power of ruins ancient and recent. All this in a spirit combining play and imaginative melancholy. Anne was born in 1941, in Marseille. Patrick in 1942, in Nantes. The striking thing about their oeuvre is the mark it bears of the violence of the time they have lived through.
    [Show full text]
  • G Alerie Terrades
    GALERIE TERRADES - PARIS 1600 - 1900 PAINTINGS | DRAWINGS 2020 GALERIE TERRADES - PARIS 1600 - 1900 PAINTINGS | DRAWINGS 2020 1600 PAINTINGS 1900 DRAWINGS Acknowledgments We are grateful to all those who have helped us, provided opinions and expertise in the preparation of this catalogue: Stéphane-Jacques Addade, Pr. Stephen Bann, Piero Boccardo, Guillaume Bouchayer, Vincent Delieuvin, Marie-Anne Destrebecq-Martin, Corentin Dury, Francesco Frangi, Véronique Gérard Powell, Ariane Yann Farinaux-Le Sidaner, James Sarazin, Frédérique Lanoë, Cyrille Martin (†), Christian Maury, Gianni Papi, Francesco Petrucci, Giuseppe Porzio, Jane Roberts, Guy Saigne, Schlomit Steinberg and Gabriel Weisberg Translation into English: Jane Mac Avock Cover: Léon Pallière, Rome, St. Peter’s Square from Bernini’s colonnade, n°8 (detail) Frontispice: Augustin-Louis Belle, Herse, Daughter of Cecrops, sees Mercury Going Towards her Palace, n°9 (detail) Objects are listed in chronological order of creation Dimensions are given in centimetres, height precedes width for the paintings and drawings CATALOGUE Simone Barabino Val Pocevera, c. 1584/1585– Milan, 1629 1. Lamentation of Christ, c. 1610 Oil on canvas Barabino, who was born in Val Polcevera near the early works of Bernardo Strozzi. The wide range 43.5 x 29 cm Genoa, was apprenticed to Bernardo Castello, one of colours, complemented by iridescent shades owes of the city’s principal Mannerist painters. But much to the study of the Crucifixion, the masterpiece the master’s excessive jealously caused a violent by Barocci in the cathedral of Genoa, while Christ’s break in their relations in 1605. Barabino then set pale body is probably connected to the observation up as an independent painter, quickly becoming of Lombard paintings by Cerano, Procaccini and successful with religious congregations (The Last Morazzone that could be seen in Genoa.
    [Show full text]
  • The Rise of the Market for Modern Art in the Nineteenth Century
    NBER WORKING PAPER SERIES CAREERS AND CANVASES: THE RISE OF THE MARKET FOR MODERN ART IN THE NINETEENTH CENTURY David W.Galenson Robert Jensen Working Paper 9123 http://www.nber.org/papers/w9123 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 September 2002 The views expressed herein are those of the authors and not necessarily those of the National Bureau of Economic Research. © 2002 by David W. Galenson and Robert Jensen. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Careers and Canvases: The Rise of the Market for Modern Art in the Nineteenth Century David W. Galenson and Robert Jensen NBER Working Paper No. 9123 September 2002 ABSTRACT This paper reexamines the process by which a market for a new product – modern painting – emerged in Paris in the nineteenth century. Contrary to the accepted account, in which the monopoly of the official Salon was replaced by a competitive market operated by private dealers, we find that the Salon was in fact initially replaced by a series of smaller group exhibitions organized by artists. The Impressionists were thus leaders not only in creating modern art, but also in developing its markets. Our reinterpretation of this episode yields a new understanding of the interactions between artists and markets in the late nineteenth and early twentieth centuries, and for the first time highlights specific ways in which artists’ behavior was affected by the structure of art markets during the first half century of the modern era.
    [Show full text]
  • ODE 1340-2 Booklet Print.Indd
    CLARA ANDRADA ODE 1340-2 CLARA ANDRADA NIELSEN • IBERT • ARNOLD FLUTE CONCERTOS FRANKFURT RADIO SYMPHONY • JAIME MARTÍN 2 3 CARL NIELSEN (1865–1931) Flute Concerto (1926), FS 119 19:23 1 I Allegro moderato 11:46 2 II Allegretto un poco – Adagio ma non troppo – Allegretto – Poco adagio – Tempo di marcia 7:32 JACQUES IBERT (1890–1962) Publisher: Edition Wilhelm Hansen (Nielsen); Alphonse Leduc (Ibert); Novello (Arnold) Flute Concerto (1932–33) 20:26 3 I Allegro 4:57 4 II Andante 7:18 Recordings: hr-Sendesaal, Hessischer Rundfunk, Frankfurt am Main, Germany, 5 III Allegro scherzando 8:03 1–3 February, 2018 (Nielsen & Ibert); 7 and 8 May, 2015 (Arnold) Executive Producer: Reijo Kiilunen Recording Producer: Christoph Claßen (Nielsen & Ibert); Udo Wüstendörfer (Arnold) MALCOLM ARNOLD (1921–2006) Recording Engineer: Philip Knop (Nielsen & Ibert); Andreas Heynold (Arnold) Flute Concerto No. 1, Op. 45 (1954) 12:01 for flute and string orchestra ℗ & © 2020 Ondine Oy, Helsinki 6 I Allegro 4:35 7 II Andante 5:26 Booklet Editor: Joel Valkila 8 III Con fuoco 1:59 Cover & photos: Gisela Schenker CLARA ANDRADA, flute & leader (6–8) Frankfurt Radio Symphony JAIME MARTÍN, conductor (1–5) 2 11 lute concertos written by Vivaldi and Mozart in the eighteenth century have Clara Andrada and Jaime Martín Fmaintained a place in the repertoire, yet some of the most popular examples in the genre date from within the last hundred years. Brahms revealed the flute’s expressive potential in a symphonic context in the poignant twelfth variation of the passacaglia Finale of his Fourth Symphony (1885). Yet the widespread resurgence of interest in the flute as a solo instrument may be directly attributable to the opening flute theme of Claude Debussy’s Prélude à l’après-midi d’un faune of 1894, the flexibility and eloquence of this imperishable solo line suggesting to receptive fellow composers the potential of the instrument to be the main protagonist in a fully-fledged concertante work.
    [Show full text]
  • Ethical Charter
    ! French Academy in Rome – Villa Medici Ethical Charter on Patronage, Sponsorship and relations with individuals, companies and foundations (approved by the Administrative Board on 9 April 2013) Preamble Villa Medici was built during the Sixteenth century under the direction of the architect Bartolomeo Ammannati according to the wishes of the cardinal Ferdinando de’ Medici. From its acquisition by Napoleon Bonaparte in 1803, Villa Medici has remained the seat of the French Academy in Rome. Villa Medici, seat of the French Academy in Rome is a French public institution under the aegis of the Ministry of Culture. The French Academy in Rome have three main missions: 1 - the Colbert mission aims at hosting artists in residence; 2 - the Malraux mission aims at promoting artistic and literary creation, organizing cultural events and developing scientific activities about art history; 3 – the maintaining, restoring and enhancing heritage purpose. The French Academy in Rome – Villa Medici has gradually built an active partnership policy and a possibility of renting its venues in order to develop its internal resources. Patronage, sponsorship and rentals are based on an association of public perception between two partners. To settle such an agreement, the French Academy in Rome – Villa Medici wishes to see a certain number of ethical rules set out to guide relations with companies, foundations, and individuals within the scope of this operations. Definitions As part of an act of patronage, sponsorship, sponsoring, or as part of a rental activity, the French Academy in Rome - Villa Medici can settle an agreement with any company or foundation established in France, in Italy or elsewhere.
    [Show full text]
  • French Classicism in Four Painters: Where It Went and Why
    Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 French Classicism in Four Painters: Where It Went and Why Kristen Tayler Westerduin Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Ancient Philosophy Commons, French and Francophone Literature Commons, History Commons, History of Art, Architecture, and Archaeology Commons, and the Philosophy Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Westerduin, Kristen Tayler, "French Classicism in Four Painters: Where It Went and Why" (2019). Senior Projects Spring 2019. 130. https://digitalcommons.bard.edu/senproj_s2019/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. French Classicism in Four Painters: Where It Went and Why Senior Project Submitted to The Divisions of Art History and Visual Culture and French Studies of Bard College by Kristen T. Westerduin Annandale-on-Hudson, New York May 2019 Westerduin, 2 Acknowledgements A big thank you to Laurie Dahlberg for taking the time to guide me through this process and answering every question I had, big and small.
    [Show full text]
  • La Lettre Academie Des Beaux-Arts
    LA LETTRE ACADEMIE DES BEAUX-ARTS ART & LITERATURE 88 Issue 88 Autumn-winter 2018 Editorial • page 2 Inductions under the Dome: Jean-Marc Bustamante Astrid de la Forest Jean Gaumy • pages 3 to 5 Colloquium: Palace of the Institut de France “Baudelaire and the arts” • pages 6 to 9 Editorial “Writing has always been the foundation of my Exhibitions: painting and I have been greatly nurtured by it, in my approach as an artist and in Musée Marmottan Monet m the development of my thinking,” Gérard Garouste confides in the introduction to “Private collections: a voyage from his remarkable contribution to the dossier of this issue of the Lettre. the Impressionists to the Fauves” Palace of the Institut de France This statement, authored by a painter, reveals a reader’s profession of faith. The “A Siberian odyssey” work of this artist, who is familiar with the major texts of world literature and The Marc Ladreit de schooled in their complexity, attests to the kind of research and focus without Lacharrière Photography Prize in partnership with the Académie des which, as Jean Paulhan remarked, art like literature is only a “rather mediocre Beaux-Arts 2017 joke”; proof that this artistic project, because it relies on illusion and fiction, is • pages 10 to13 indissociable from an interpretative approach and from a questioning of the power of language and images. Dossier: “Art & literature” From this nuanced and revealing insight on the links between aesthetics, ethics • pages 14 to 35 and politics, the conclusive statement to remember: “I love this paradox whereby we shed our rational mind but do so in the practice of a true discipline.” As the News: times lend themselves to the irrational and to simplification, one is quite likely to Franck Riester, French Minister of Culture voluntarily agree with the project, without endorsing the method.
    [Show full text]
  • The Legacy of the Paris Conservatoire
    THE LEGACY OF THE PARIS CONSERVATOIRE AND ITS HARPISTS: A SOLO HARP RECITAL by Jessica Russell Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Music Texas Christian University Fort Worth, Texas May 4, 2015 ii THE LEGACY OF THE PARIS CONSERVATOIRE AND ITS HARPISTS: A SOLO HARP RECITAL Project Approved: Supervising Professor: Laura L. Brandenburg, D.M.A. Department of Music Stuart Cheney, Ph.D. Department of Music Karla O’Donald, M.A. Department of Spanish and Hispanic Studies iii ABSTRACT The Paris Conservatoire trains musicians of the highest quality, and the harpists of the Conservatoire are no exception to this legacy. The transition from the nineteenth to the twentieth century, in particular, saw a group of brilliant and talented harpists begin their careers from the springboard of the Conservatoire. Among these were Henriette Renié and Carlos Salzedo. The Conservatoire also trained other great musicians who composed brilliantly for the harp. The presence of virtuosic harpists at the Conservatoire provided a source of inspiration for composers such as Gabriel Pierné and Jacques Ibert to build upon. This paper accompanies a solo harp recital that focuses on music by harpists and composers who studied at the Paris Conservatoire. The selected works for the program include Légende by Henriette Renié, Variations on a Theme in Ancient Style by Carlos Salzedo, Concertstück, Op. 39 by Gabriel Pierné, Entr’acte by Jacques Ibert, and Grand Study in Imitation of the Mandoline by Elias Parish Alvars. The purpose of the subsequent historical and compositional analysis of the selected works is to provide a broader perspective for both the performer and audience members in the context of a solo harp recital.
    [Show full text]