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LINK to Newsletter 21
Winter 2012 FRIENDS No. 21 of the Non-Catholic Cemetery in Rome N E W S L E T T E R th Special issue on the 18 century. Plus, index to Newsletter issues 1-21 THE FIRST BURIAL WAS IN 1716! Editor’s note: How and when did the Cemetery start? We now have some answers to these questions. It has long been suspected that the first burials were made in the 1720s but Professor Corp (below) provides both a firm date (1716) and a historical context: from the start, it was the Pope who conceded to Protestants the right to burial next to the Pyramid. This is an important breakthrough in our understanding of this his- toric site and its role in Rome’s history. In this special 8-page issue devoted mainly to the 18th century, we announce some new discoveries (such as graffiti dated 1774) and re-assess some earlier ones. Our regular columns of ‘Who they were’ and ‘How others see the Cemetery’ also focus on the 18th century, before we come up to date again with news of current events. J.A.Merigot. The pyramid of Caius Cestius, 1796. Aquatint with handcolouring THE ORIGINS OF THE PROTESTANT For many years the exiled Stuart king and his Jacobite supporters CEMETERY IN ROME lived in France, where Louis XIV opposed toleration, but in 1716 King James III and his court took refuge within the Papal States – Edward Corp first at Avignon, then at Urbino, and finally in Rome itself. As a result, many English and Scottish Jacobite Protestants (Anglicans The Glorious Revolution in England and Scotland in the winter of and Episcopalians) began to arrive in Italy. -
Old Master Paintings Master Old
Wednesday 29 April 2015 Wednesday Knightsbridge, London OLD MASTER PAINTINGS OLD MASTER PAINTINGS | Knightsbridge, London | Wednesday 29 April 2015 22274 OLD MASTER PAINTINGS Wednesday 29 April 2015 at 13.00 Knightsbridge, London BONHAMS BIDS ENQUIRIES PRESS ENQUIRIES Montpelier Street +44 (0) 20 7447 7447 [email protected] [email protected] Knightsbridge +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8307 London SW7 1HH To bid via the internet please visit CUSTOMER SERVICES www.bonhams.com www.bonhams.com SPECIALISTS Monday to Friday 08.30 – 18.00 Andrew McKenzie +44 (0) 20 7447 7447 VIEWING TELEPHONE BIDDING +44 (0) 20 7468 8261 Sunday 26 April Bidding by telephone will only [email protected] Please see back of catalogue 11.00 – 15.00 be accepted on lots with a low for important notice to bidders Monday 27 April estimate in excess of £500. Caroline Oliphant 09.00 – 16.30 +44 (0) 20 7468 8271 ILLUSTRATIONS Tuesday 28 April Please note that bids should be [email protected] Front cover: Lot 84 (detail) 09.00 – 16.30 submitted no later than 4pm on Back cover: Lot 1 Wednesday 29 April the day prior to the sale. New Lisa Greaves 09.00 – 11.00 bidders must also provide proof +44 (0) 20 7468 8325 IMPORTANT INFORMATION of identity when submitting bids. [email protected] The United States Government SALE NUMBER Failure to do this may result in has banned the import of ivory 22274 your bid not being processed. Archie Parker into the USA. Lots containing +44 (0) 20 7468 5877 ivory are indicated by the symbol CATALOGUE LIVE ONLINE BIDDING IS [email protected] Ф printed beside the lot number £18 AVAILABLE FOR THIS SALE in this catalogue. -
Così Jacob Philipp Hackert Scriveva Al Barone Offemberg Von Mitau Il 16 Novembre Del 1790. Gli Raccontava Del Suo Soggiorno
LE VEDUTE DEI PORTI DEL REGNO : J ACOB PHILIPP HACKERT , IL VEDUTISTA AL SERVIZIO DEL RE anna grIMaLdI «La scorsa primavera ho visitato le coste della calabria e una parte della Sicilia, per disegnare su commissione del re la suite dei porti marini. in Sicilia sono stato a Siracusa, augusta, Li ciclope, a taci tauraminia, messina e palermo » ( LoHSE , 1936, p. 29; WEIdnEr , 1997, p. 4). Così Jacob Philipp Hackert scriveva al barone offemberg von Mitau il 16 novembre del 1790. gli raccontava del suo soggiorno nelle province del regno di napoli nel periodo in cui Ferdinando IV di Borbone, tra il 1787 e il 1794, com - missionò all’artista prussiano la serie delle vedute dei porti del regno . In un’altra lettera dalla Sicilia così scriveva al conte dönhoff: «Carissimo conte, ho ricevuto la vostra piacevole lettera in Sicilia dove mi sono fermato per ben tre mesi, compresa la costa della Calabria fino a reggio. Il re mi ha mandato qui con una piccola felouque ben armata, con 12 uomini, per realizzare la suite dei porti del regno. In Calabria ho trovato ben poco di valore per un pittore, escluse l’isola di Cerella e diamante. reggio è molto pittoresca ma totalmente distrutta dal terremoto. In compenso mi sono rifatto in Sicilia. anche se Messina era stata quasi del tutto rovinata dal terremoto, si è già di nuovo ripresa e quasi del tutto ricostruita, in parte per gli aiuti del governo, in parte perché è un porto libero […] i prospetti di qui sono certamente tra i più belli che si possono vedere in Eu - ropa» ( CIoFFI , 2004, scheda a cura I. -
Jakob Philipp HACKERT Prenzlau 1737 - San Pietro Di Careggi 1807
LANDSCAPES OF THE GRAND TOUR From the late 18th to the 19th Century I feel myself hurried irresistibly forward; it is only with an effort than I can collect myself sufficiently to attend to what is before me. J. W. Goethe Travels in Italy, 1786 LANDSCAPES OF THE GRAND TOUR From the late 18th to the 19th Century JUNE 2011 Catalogue by: PAOLO ANTONACCI ALVARO MARIGLIANI PAOLO ANTONACCI ROMA PAOLO ANTONACCI ANTICHITÀ S.R.L. Via del Babuino 141/A 00187 Roma Tel. + 39 06 32651679 [email protected] www.paoloantonacci.com Acknowledgements We would like to thank the following people for their help and advice in the preparation of this catalogue: Emanuela Belli, Ursula Bongaerts, Christine Borruso, Anna Cori, Pier Andrea De Rosa, Luigi Devoti, Giulia Gorgone, Dorothee Hock, Eugenio La Rocca, Mario Lolli Ghetti, Massimiliano Quagliarella, Maria Maddalena Spinola, Filippo Tuena, Nico Zachmann. © 2011, Paolo Antonacci Catalogue n. 13 Translation from Italian by Margaret Dunning Photographic references Arte Fotografica, Roma Front Cover J. J. FREY, A caravan caught in the Simum wind near Giza detail, cat. 17 Back cover N. COSTA, Lake Albano with Monte Cavo cat. n. 23 On occasion of the forthcoming prestigious international exhibitions in which the gallery will participate: London Masterpiece, Florence Biennale dell’Antiquariato and Munich Highlights, we are proud to present a catalogue of our most recent acquisitions. It is a selection of watercolours and oils of excellent quality, coming for the most part from two distinguished Roman private collections that were formed in the 1970’s and 1980’s, works that have not been exhibited to the public for over thirty years. -
40 880 46 12 [email protected] ∙ Le Claire Kunst Seit 1982
LE CLAIRE KUNST SEIT 1982 MAGDALENENSTRASSE 50 ∙ 20148 HAMBURG ∙ TELEFON +49 (0)40 881 06 46 ∙ FAX +49 (0)40 880 46 12 [email protected] ∙ WWW.LECLAIRE-KUNST.DE LE CLAIRE KUNST SEIT 1982 JAKOB PHILIPP HACKERT 1737 Prenzlau - Florence 1807 A Pine near Genzano Black chalk, heightened with white, on light brown paper. Signed and dated lower left: J. Philipp Hackert f. 1769 in Genzano. Annotated on the verso (by another hand): Charlotte Clive / Bought at Naples of Mr Hacket / 19 March 1787. 542 x 401 mm PROVENANCE: Charlotte Clive (1762-95, daughter of Robert Clive, 1st Baron Clive, known as Clive of India), acquired directly from the artist in Naples in 1787 – Edward Clive, 1st Earl of Powis, Powis Castle, Welshpool – Abbot & Holder, London (1968) – Private collection, England Jakob Philipp Hackert arrived in Rome in December 1768. He immediately started out to explore the landscapes of the surrounding countryside. He set off on foot to the Alban Hills accompanied by the Swedish sculptor Johan Tobias Sergel (1740-1814) and the French painter Antoine François Callet (1741-1823) in the spring of 1769. Goethe in his biographical comments on Hackert notes: In the company of these two artists they [sic!] also undertook a short journey to Frascati, Grotta Ferrata, Marino, Albano, Nemi and so forth in the spring, to first acquaint themselves in a general way with the beauties of nature in these places.1 Mediterranean varieties of indigenous tree previously unknown to him almost certainly excited Hackert’s interest on this first journey on foot. Documents show that he had begun to make drawings of trees from nature while he was still in Berlin. -
Jakob Philipp Hackert Als Radierer : Anlässlich Der Neueren Literatur Zu Leben Und Werk Des Künstlers
Jakob Philipp Hackert als Radierer : anlässlich der neueren Literatur zu Leben und Werk des Künstlers Autor(en): Schmid, F. Carlo Objekttyp: Article Zeitschrift: Librarium : Zeitschrift der Schweizerischen Bibliophilen- Gesellschaft = revue de la Société Suisse des Bibliophiles Band (Jahr): 39 (1996) Heft 2 PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-388613 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch F. CARLO SCHMID JAKOB PHILIPP HACKERTALS RADIERER Anläßlich der neueren Literatur zu Leben und Werk des Künstlers Johann Wolfgang Goethe lernte den führliche Untersuchung, in deren Mittelpunkt höchst produktiven Landschaftsmaler allerdings lediglich das Frühwerk Jakob Philipp Hackert im Februar 1787 in Neapel steht2. -
The Volturno with the Ponte Margherita, Near Caserta, with A
Jacob Philipp Hackert (Prenzlau 1737 - San Pietro di Careggi 1807) The Volturno with the Ponte Margherita, near Caserta, with a Herdsman Resting and Peasants on a Path signed and dated ‘Filippo Hackert, 1799’ (lower right) oil on canvas 64.8 x 88.9 cm (25½ x 35 in) Embodying a scene of utter tranquillity and contentment, The Volturno with the Ponte Margherita, near Caserta, with a Herdsman Resting and Peasants on a Path, was painted in 1799, a year of turmoil for Jacob Philipp Hackert, who was forced to flee Naples after French Revolutionary forces occupied the city. The painting depicts the Volturno running through the Caserta region of southern Italy and the Ponte Margherita, a bridge near the town of Alife, not far from Naples. Hackert may have painted the scenery whilst on his way north to escape the trouble in Naples or he may have based his composition on earlier sketches of the area. The resulting image indicates none of the tensions that were presumably present in his life; instead it is, like Hackert’s work in general, a picturesque and romanticised representation of a pastoral landscape, bathed in soft, golden light. The eye is immediately drawn towards the figures and oxen in the foreground of the picture. A woman and her daughter, amble down a path, with their backs to the viewer. The mother carries a basket as if on her way to market and wears a red skirt with a white blouse, a white apron bunched around her hips and a brown bodice. Her daughter wears a blue skirt and red bodice. -
THE LURE of the ORIENT the Schranzes, the Brockdorffs, Preziosi and Other Artists
THE LURE OF THE ORIENT The Schranzes, the Brockdorffs, Preziosi and other artists Dominic Cutajar HE lure of the Golden Orient has been a well-known phenomenon T of western culture - especially in the world of art - as far back as the fifteenth century. It looks akin to the fascination for the strange and the exotic, often finding vague expression in parading rare equatorial creatures, such as zebras, lions and various species of monkeys. In fact towards the end of the seventeenth century, the mystique for the magical world of the Orient became palpable. In all probability, the Ottoman conquest of Constantinople in 1453 had had an accelerating effect; if nothing else, it had brought one of the main centres of eastern exoticism to the shores of the Bosphorus - right on the door-step of Europe. Due to their old ties with the Levant and the Aegean area, the Venetians were the first to register the impact of this inexplicable magnetism. They were too the first known western artists to cultivate contacts with Ottoman Constantinople, including among others Gentile Bellini, a brother to the more renowned Giovanni. But the Venetians' relations with the Sublime Porte were perennially fraught with problems, so that in the course of the sixteenth century they were supplanted, first by the French and subsequently by the British and the Dutch. Of these, the French acclimatized themselves better to the sensual enchantments of the giant Ottoman capital. Whatever they were able to make of their trade opportunities, the French indubitably grasped most of the cultural chances that came their way. -
Returns to Pompeii Eddy.Indb 3 2016-11-07 16:11 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$'
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Un'impresa Culturale E Commerciale
Scuola Dottorale in CULTURE DELLA TRASFORMAZIONE DELLA CITTÀ E DEL TERRITORIO Sezione STORIA E CONSERVAZIONE DELL ’OGGETTO D ’ARTE E D’ARCHITETTURA XXIII CICLO Un’impresa culturale e commerciale: la Calcografia Piranesi da Roma a Parigi (1799-1810) Valeria Mirra TUTOR Prof. Liliana Barroero Prof. Orietta Rossi Pinelli COORDINATORE Prof. Barbara Cinelli A. A. 2010/2011 INDICE Introduzione 4 1. La Calcografia Piranesi dopo Giovanni Battista: l’influenza, l’eredità 13 1.1 L’eredità materiale e spirituale raccolta da Francesco e Pietro Piranesi 16 1.2 La Calcografia Piranesi dalla morte di Giovanni Battista alla Repubblica Romana (1778-1798) 43 2. Il trasferimento della Calcografia Piranesi da Roma a Parigi: i progetti, le collaborazioni 61 2.1 I fratelli Piranesi a Parigi: rapporti culturali e rapporti politici 63 2.2 Il Prospectus dell’anno VIII (1800) : i progetti dei fratelli Piranesi e le nuove collaborazioni 89 3. La Calcografia Piranesi a Parigi: un’impresa culturale e commerciale 99 3.1 “Académie des Beaux-arts” o “Accademia d’industria” ? 100 3.1.1 Un giovane artista dalle grandi speranze: Pietro Cardelli (1776-1822) allievo dell’Accademia di Belle Arti dei Piranesi 123 3.2 La produzione dei Dessins coloriés 127 3.3 Labor omnia vincit . La manifattura di vasi e ornamenti di architettura in terracotta a Mortefontaine 161 4. La fine della Calcografia dei “frères Piranesi” (1807-1810) 188 4.1. L’uscita dalla società di Pietro Piranesi e i nuovi progetti di Francesco 188 4.2. Il fallimento economico dell’impresa Piranesi e la morte di Francesco (1810) 195 Appendice documentaria I. -
Télécharger Neptunia
— — — — — — — — SOMMAIRE Avant propos, par le Capitaine de Corvette Vichot . 1 Sur l'exposition "Vieille Marine", par La Varende . 2 Adrien Manglard (16951760), par Mlle Jacqueline Loyer . 6 Les "Ports de France" de Garneray, par M. Gustave Alaux, Membre de l'Académie de Marine . 8 L'Histoire de la Marine à travers les vignettes d'archives, par M. Jean Denizet, Chef du Service des Archives et Biblio thèques de la Marine . 13 Les Uniformes de la Marine, par M. le Commissaire Général de la Marine P. Jullien. 15 Reliques de Lapérouse, par le lieute nant de Vaisseau de Renusson d'Hauteville . 19 Vieux livres de voyage, Anciens Traités de construction navale par J.V. 20 Sur les Pontons (18031814), par M. P. Bohé, Professeur en chef de la Marine Marchande . 21 Imagerie Maritime, par M. Emile Condroyer . 24 — — — — AVANTPROPOS NZE mois d’une laborieuse et brillante renaissance et l'Association des Amis du Musée de la Marine, sans désemparer, décide l’organisation d’une exposition « Vieille Marine » qui groupera objets d’art, instruments, sou venirs ou curiosités du folklore maritime, antérieurs à 1870. Le but de cette manifestation est double. Le premier, celui qui figure en tête des statuts de l’Association : accroître le rayonnement du Musée de la Marine et favoriser ainsi la propagande maritime dans le Pays. Le second : faire connaître les objets d’art et documents anciens dispersés dans des collec tions privées ou officielles et enrichir ainsi notre documentation iconographique maritime. Peu de finances, mais nombre de bonnes volontés, de l’enthousiasme et déjà l’on peut affirmer que l’un et l’autre buts sont atteints. -
R. G. Wanek Center Art Collection President's Club
R. G. Wanek Center Art Collection President’s Club Contents A King from the Adoration of the Magi: A Fragment by Alessandro Gherardini ...... 3 The Lake by George W. Johnstone ................................................................................ 4 Evening on the Trent by Henry Kinnaird ..................................................................... 5 Shipping Off a Rocky Coast by Adrien Manglard ......................................................... 6 Fishing at the Lake by Joseph Thors .............................................................................. 7 Woodcutters Sherwood Forest by Joseph Thors ........................................................... 8 Home on the Lake by Alfred Vickers, Sr. ...................................................................... 9 Fisherman on the Banks of a Loch by Gottlieb Daniel Paul Weber .......................... 10 Southern Landscape with a Castle by Richard Wilson ............................................... 11 1 Girl Pausing by Shady Brook by Edward Charles Williams....................................... 12 Chess set of the Gods (unknown) ................................................................................. 13 Portrait of a Gentleman (undetermined) ..................................................................... 14 Portrait of President Robert M. Andrews, D. D.......................................................... 15 Portrait of President Dennis H. Cooke, Ph.D ............................................................. 16 Portrait