Ontdek Schilder, Hofkunstenaar, Tekenaar Johan Mandelberg
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Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
Aarbøger for Nordisk Oldkyndighed Og Historie
aarbøger for nordisk Oldkyndighed og Historie Annual of the Royal Society of Northern Antiquaries 2007 Det Kongelige Nordiske Oldskriftselskab København 2010 65227_aarbog2007_.indd 3 09-03-2010 15:57:26 © 2010 Det Kgl. Nordiske Oldskriftselskab Frederiksholms Kanal 12 DK-1220 København K. ISBN 978-87-87483-14-8 ISSN 0084-585X Redaktion: Poul Otto Nielsen (ansv.) og Ulla Lund Hansen Grafisk tilrettelæggelse og billedbehandling: Jan Holme Andersen Udgivet med støtte fra Forskningsrådet for Kultur og Kommunikation Grunddesign, prepress og tryk: Narayana Press, Gylling Skrift: Minion Papir: 130 g Chorus Satin Omslag: Den Kongelige Commission for Oldsagers Opbevaring nedsat ved forordning af Kong Christian VII den 22. maj 1807 Medlemmer i perioden 1807-1816, fra toppen mod højre: Kommissionens formand A.W. Hauch, F. Münter, kommissionens sekretær R. Nyerup, P.J. Monrad, W.H.F. Abrahamson, B. Thorlacius, E. Vargas Bedemar, E.C. Werlauff, og L.S. Vedel Simonsen Alle manuskripter sendes til vurdering hos to anonyme referees, inden de accepteres til trykning All papers are subject to anonymous peer refereeing Vor einer möglichen Publikation werden alle Manuskripte zwei anonymen Referenten zur Begutachtung vorgelegt Salg til ikke-medlemmer i kommission hos: Herm. H. J. Lynge & Søn Internationalt antikvariat Silkegade 11 DK-1113 København K. www.lynge.com [email protected] Salg med rabat til medlemmer direkte fra Selskabet – se bagest i bogen 65227_aarbog2007_.indd 4 09-03-2010 15:57:26 Oldsagskommissionens tidlige år forudsætninger og internationale forbindelser Nationalmuseets 200 års Jubilæumssymposium 24.-25. maj 2007 arrangeret af Nationalmuseet og Wormianum i samarbejde med Kulturarvsstyrelsen 65227_aarbog2007_.indd 5 09-03-2010 15:57:26 Kong Hildetands høj. -
Professor Dr. Michelle Facos
Professor Dr. Michelle Facos Alfried Krupp Junior Fellow Oktober 2010 – September 2011 The Copenhagen Academy and artistic (Gedanken über die Nachahmung der grie- Kurzbericht innovation circa 1800 chischen Werke in Malerei und Bildhauer- kunst, 1755) conceptually rather than lite- In the late eighteenth and early nineteenth rally, and centuries several painters and sculptors who studied at the Copenhagen Academy of Art 3) the political mandate to create a distinct- (Det Kongelige Danske Kunstakademi) pro- ly Danish school of art. The works of pain- duce inventive art works that transgressed ters Nicolai Abildgaard, Jens Juel, Christof- contemporary norms and anticipated broader fer Eckersberg, and Caspar David Friedrich, artistic trends by decades. This was due in lar- and the sculptor and Winckelmann protégé Kurzvita Michelle Facos was born in Buffalo 1955. (California, 2008) and An Introduction to ge part to the singular confluence of several Johannes Wiedewelt evidence the indepen- She is professor of the History of Art and Nineteenth-Century Art (Routledge 2011). factors: dent creativity that would later become the adjunct professor of Jewish Studies at Indi- Michelle Facos has received awards from 1) a visual practice that emphasized careful- hallmark of modern artistic practice and ana University, Bloomington, where she has the American-Scandinavian Foundation, the ly observing and recording the natural world which are often attributed to French artists. taught since 1995. She received her Ph.D. in American Philosophical Society, Fulbright, (partly the result of the Institute for Natural 1989 from the Institute of Fine Arts, New and the Alexander von Humboldt-Stiftung. History being housed in the same building, York University with a dissertation entitled Charlottenborg Palace, as the Art Academy), Nationalism and the Nordic Imagination: Swedish Art of the 1890s. -
GÜNTER KONRAD Visual Artist Contents
GÜNTER KONRAD visual artist contents CURRICULUM VITAE 4 milestones FRAGMENTS GET A NEW CODE 7 artist statement EDITIONS 8 collector‘s edition market edition commissioned artwork GENERAL CATALOG 14 covert and discovered history 01 - 197 2011 - 2017 All content and pictures by © Günter Konrad 2017. Except photographs page 5 by Arne Müseler, 80,81 by Jacob Pritchard. All art historical pictures are under public domain. 2 3 curriculum vitae BORN: 1976 in Leoben, Austria EDUCATION: 2001 - 2005 Multi Media Art, FH Salzburg DEGREE: Magister (FH) for artistic and creative professions CURRENT: Lives and works in Salzburg as a freelance artist milestones 1999 First exhibition in Leoben (Schwammerlturm) 2001 Experiments with décollages and spray paintings 2002 Cut-outs and rip-it-ups (Décollage) of billboards 2005 Photographic documentation of décollages 2006 Overpaintings of décollages 2007 Photographic documentation of urban fragments 2008 Décollage on furniture and lighting 2009 Photographic documentation of tags and urban inscriptions 2010 Combining décollages and art historical paintings 2011 First exhibition "covert and discovert history" in Graz (exhibition hall) 2012 And ongoing exhibitions and pop-ups in Vienna, Munich, Stuttgart, | Pörtschach, Wels, Mondsee, Leoben, Augsburg, Nürnberg, 2015 Purchase collection Spallart 2016 And ongoing commissioned artworks in Graz, Munich, New York City, Salzburg, Serfaus, Singapore, Vienna, Zirl 2017 Stuttgart, Innsbruck, Linz, Vienna, Klagenfurt, Graz, Salzburg commissioned artworks in Berlin, Vienna, Tyrol, Obertauern, Wels 2018 Augsburg, Friedrichshafen, Innsbruck, Linz, Vienna, Klagenfurt, Graz, Salzburg, Obertauern, commissioned artworks in Linz, Graz, Vienna, Tyrol, OTHERS: Exhibition at MAK Vienna Digital stage design, Schauspielhaus Salzburg Videoscreenings in Leipzig, Vienna, Salzburg, Graz, Cologne, Feldkirch Interactive Theater Performances, Vienna (Brut) and Salzburg (Schauspielhaus), organizer of Punk/Garage/Wave concerts.. -
The Grand Tour Portraits of Pompeo Batoni Matthew Rogan University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2015 Fashion and Identity in Georgian Britain: the Grand Tour Portraits of Pompeo Batoni Matthew Rogan University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Rogan, Matthew, "Fashion and Identity in Georgian Britain: the Grand Tour Portraits of Pompeo Batoni" (2015). Theses and Dissertations. 835. https://dc.uwm.edu/etd/835 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FASHION AND IDENTITY IN GEORGIAN BRITAIN: THE GRAND TOUR PORTRAITS OF POMPEO BATONI by Matthew M. L. Rogan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee May 2015 ABSTRACT FASHION AND IDENTITY IN GEORGIAN BRITAIN: THE GRAND TOUR PORTRAITS OF POMPEO BATONI by Matthew M. L. Rogan The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Tanya Tiffany Portrait artist to popes, royalty, and nobility, Pompeo Batoni was hailed as the premier portrait painter in Rome during his career in the mid to late eighteenth century. Batoni’s reputation as the de rigueur portraitist amongst wealthy British Grand Tourists was solidified by the late 1750s, and he dominated this market until his death in 1787. This thesis will examine the different types of fashion displayed in Batoni’s Grand Tour portraits, and argue that many of the Georgian men depicted paid great attention to their dress and how it augmented their self-fashioned identities. -
From Batoni's Brush to Canova's Chisel: Painted and Sculpted Portraiture at Rome, 1740-1830 Volume One of Two: Text Maeve O'dwy
From Batoni's Brush to Canova's Chisel: Painted and sculpted portraiture at Rome, 1740-1830 Volume One of Two: Text Maeve O'Dwyer PhD Thesis University of Edinburgh 2016 I, Maeve O'Dwyer, ________________________________, hereby declare that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. 2 Abstract This thesis examines the city of Rome as a primary context of British sociability and portrait identity during the period from 1740 to 1830. Part I considers the work of the portrait painter Pompeo Batoni. It examines the pictorial record of grand tourist sociability at Rome in the 1750s, questioning the complex articulation of nationality among British visitors, and the introduction of overt references to antiquity in the portraiture of Pompeo Batoni. It subsequently interrogates Batoni's use of the partially nude Vatican Ariadne sculpture in five portraits of male grand tourists, dating from Charles John Crowle in 1762, to Thomas William Coke in 1774. Part II of this thesis considers the realities of viewing the sculpted body at Rome, recreating the studios of sculptors Christopher Hewetson and Antonio Canova. It posits the studio space as a locus of sociability for British visitors to Rome, drawing on the feminine gaze in the form of the early nineteenth-century writings of Charlotte Eaton and Lady Murray. The final chapter moves from the focus on British sitters to examine sculpture by Antonio Canova, framing it within a wider discourse of masculinity and propriety. -
Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. -
The Black Woman's Portrait in the Bemposta Chapel in Lisbon
In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) Giuseppina Raggi Abstract: Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century). Keywords: Giuseppe Trono; Bemposta chapel; enslaved and free African women; Queen Mary I; Black subjectivities in 18th century Lisbon. Resumo: A pintura de Giuseppe Trono na capela da Bemposta, realizada in 1791-1792, é uma das obras mais representativas das políticas sociais implementadas pela rainha D. Maria I. Este artigo centra-se na análise histórico-artística da pintura para enquadrar o contexto político e religioso da época e esclarecer o significado da iconografia, que foi equivocado pela exígua historiografia existente sobre a obra. -
The National Gallery Review of the Year 2007-2008
NG Review 2008 cover.qxd 26/11/08 13:17 Page 1 the national gallerythe national of the year review 2008 april 2007 ‒ march THE NATIONAL GALLERY review of the year april 2007 ‒ march 2008 the national gallery the national NG Review 2008 cover.qxd 28/11/08 17:09 Page 2 © The National Gallery 2008 Photographic credits ISBN 978-1-85709-457-2 All images © The National Gallery, London, unless ISSN 0143 9065 stated below Published by National Gallery Company on behalf of the Trustees Front cover: Paul Gauguin, Bowl of Fruit and The National Gallery Tankard before A Window (detail), probably 1890 Trafalgar Square London WC2N 5DN Back cover: A cyclist stops in a London street to admire a reproduction of Rubens’s Samson and Tel: 020 7747 2885 Delilah, part of The Grand Tour www.nationalgallery.org.uk [email protected] Frontispiece Room 29, The National Gallery © Iain Crockart Printed and bound by Westerham Press Ltd. St Ives plc p. 9 Editors: Karen Morden and Rebecca McKie Diego Velázquez, Prince Baltasar Carlos in the Riding Designed by Tim Harvey School, private collection. Photo © The National Gallery, London p. 18 Sebastiano del Piombo, Portrait of a Lady, private collection © The National Gallery, courtesy of the owner Paul Gauguin, Still Life with Mangoes © Private collection, 2007 p. 19 Richard Parkes Bonington, La Ferté © The National Gallery, London. Accepted in lieu of Tax Edouard Vuillard, The Earthenware Pot © Private collection p. 20 Pietro Orioli, The Virgin and Child with Saints Jerome, Bernardino, Catherine of Alexandria and Francis © Ashmolean Museum, University of Oxford p. -
Imagines-Number-2-2018-August
Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero Andrea Biotti, Patrizia Naldini, Marianna Petricelli Traduzioni: Eurotrad con la supervisione di Giovanna Pecorilla ISSN n. 2533-2015 2 august 2018 index n. 2 (2018, August) 6 EIKE SCHMIDT Digital reflexions 10 SILVIA MASCALCHI School/Work programmes at the Uffizi Galleries. Diary of an experience in progress 20 SIMONE ROVIDA When Art Takes Centre Stage. Uffizi Live and live performance arts as a means to capitalise on museum resources 38 ELVIRA ALTIERO, FEDERICA CAPPELLI, LUCIA LO STIMOLO, GIANLUCA MATARRELLI An online database for the conservation and study of the Uffizi ancient sculptures 52 ALESSANDRO MUSCILLO The forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings 84 ADELINA MODESTI Maestra Elisabetta Sirani, “Virtuosa del Pennello” 98 CARLA BASAGNI PABLO LÓPEZ MARCOS Traces of the “Museo Firenze com’era in the Uffizi: the archive of Piero Aranguren (Prato 1911- Florence 1988), donated to the Library catalog 107 FABRIZIO PAOLUCCI ROMAN ART II SEC. D. C., Sleepimg Ariadne 118 VINCENZO SALADINO ROMAN ART, Apoxyomenos (athlete with a Scraper) 123 DANIELA PARENTI Spinello Aretino, Christ Blessing Niccolò di Pietro Gerini, Crocifixion 132 ELVIRA ALTIERO Niccolò di Buonaccorso, Presentation of the Virgin in the Temple n.2 | august 2018 Eike Schmidt DIGITAL REFLEXIONS 6 n Abbas Kiarostami’s film Shirin (2008), sing questions of guilt and responsibility for an hour and a half we see women – would have been superimposed upon Iin a theatre in Iran watching a fictio- its famous first half, the action-packed nal movie based on the tragic and twi- Nibelungenlied (Song of the Nibelungs). -
About the Grand Tour
J. Paul Getty Museum Education Department Gods, Heroes and Monsters: Mythology in European Art Fact Sheet About the Grand Tour In the 1700s, the European cultural phenomenon of the Grand Tour reached its culmination. Wealthy Europeans, especially young British noblemen, undertook the challenging journey across northern Europe to reach Italy. Some would spend up to eight years on their cultural pilgrimage, which possibly included a lengthy period of study. Thus, in contact with the touchstone of the classical past, these aristocrats forged their personal, intellectual, and civic identity. As Grand Tourists entered Rome and partook of its splendors and celebrations, they accumulated art to commemorate their journey. They commissioned portraits in oil, pastel, and marble, often including notable Roman sites and artifacts. They collected ancient objects along with contemporary artworks copying classical forms or motifs, often from artists who also acted as dealers, restorers, and scholars. After discussing the Grand Tour, examine the Portrait of John Talbot, later 1st Earl Talbot, below. Portrait of John Talbot, later 1st Earl Talbot Pompeo Batoni Italian, 1773 Oil on canvas 108 x 71 3/4 in. 78.PA.211 • What can we tell about this man just by looking at him? (He looks young and confident; his pose is relaxed.) • Describe the objects that surround him. What do they say about the sitter, John Talbot? (Like Charles Watson Wentworth, John Talbot associates himself with the classical past by surrounding himself with allusions to his interest in classical antiquity. The Ludovisi Mars statue on the left and the Medici Vase on the right represent two of Rome's most popular and important works of art. -
On the Nature of Vesuvius
CONSIGNMENTS NOW CHILDE HASSAM INQUIRIES Lady in a Garden, circa 1890 +1 (323) 436 5552 a closer look INVITED FOR AUCTIONS oil on canvas,18 x 15in [email protected] IN ALL CATEGORIES $800,000 - 1,200,000 To be offered November 19 On the Nature of Vesuvius FINDING THE SUBLIME IN A NEWLY ACQUIRED PAIR OF PAINTINGS By Catherine Hess ighteenth-century travelers on the Grand The pair evokes the 18th-century fascination Tour of Europe sought out Naples, Italy, with the concept of the sublime, which philoso- not only for its museums and ancient ruins pher Edmund Burke described as “the strongest but also for that marvel of nature: Vesuvius. emotion which the mind is capable of feeling,” EGeological phenomenon and source of drama, this namely that “when danger or pain press too volcano inspired many artists, including Pierre- nearly…they are simply terrible; but at certain Jacques Volaire of France. distances…they are delightful.” Contrasting the calm with the horrific, Volaire Burke’s theories are based on the teachings manipulates light with great originality in these two of Epicurus, whereby pleasure is the feeling of paintings—View of Naples in Moonlight and Scene not feeling pain. Later, Lucretius took up this of a Shipwreck—created as a pair in 1770. He also concept, which he describes brilliantly in On plays voids off of solids, bright illumination off of the Nature of Things: darkness, and serenity off of violent action. When the winds trouble the waters on the great sea, it is sweet to gaze from shore upon another’s tribulation: Not because any man’s troubles are a delec- table joy, but because it is pleasant to perceive from what ills you are free.