Handbook of the Benjamin Altman
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A Brief History of the Art of Enameling Part I
MISE_Vox52_end:MISE_Vox52_end 29-01-2011 17:48 Pagina 66 AA BriefBrief HistoryHistory ofof thethe AArtrt ofof EnamelingEnameling PartPart II By Osvaldo Patrizzi Plaque: The Tree of Jesse, attributed to Leonard Limosin. Painted polychrome enamel, Limoges, mid 16th century. he art of enameling co- The production of each period is typical and clearly TTvers a wide range of recognizable. That of the 14th century, for example, historical periods. It is dis- is fundamentally different from that of the 12th or tinct from other analogous the 16th century. The only constants are the ma- arts, such as ceramics and terials employed: enamel and a metal base. glasswork, in that it is au- There are two categories of enamel. The first to be tonomous as concerns the developed, decorative enamel, was known to the materials used, its forms, Touranians and later to the Scythians. They intro- its fabrication processes, duced it into China during the reign of the Thai- and in its progress, remai- wanti, who transmitted it to the ancient civilizations ning isolated, in a sense, of the Indus, Egypt, Phoenicia, Assyria, the Etrus- from all the other indus- Osvaldo Patrizzi cans and the Eduans. The pieces comprise jewelry Chariman and watch expert trial arts. and decorative objects, whose forms are enhanced For several centuries, ena- by the harmonies and brilliance of the colored meling was considered a mere form of decoration enamel. subordinated to the goldsmith’s art. However, The enamel is inlaid, the contours of the design around the 15th century, it came to be considered being fashioned from the metal base itself. -
Glyptics, Italian Plaquettes in France and Their Reproduction in Enamel
Glyptics, Italian Plaquettes in France and their reproduction in Enamel by Michael Riddick Glyptics, Italian Plaquettes in France and their Reproduction in Enamel Glyptics, Italian Plaquettes in France and their Reproduction in Enamel While the relationship between plaquettes and other media have been thoroughly studied, less explored is their rarer influence on French enamels, especially upon artists like Jean II Pénicaud and his contemporary, the Master K.I.P. That the two enamelers both show evidence of using plaquettes as source material could bring credence to Alfred Darcel’s early suggestion that Master K.I.P. was a pupil active in Pénicaud II’s workshop.1 The great majority of painted Limoges enamel compositions were initially dependent upon prints from the Rhineland, Germany, France and Flemish territories. By the mid-16th century, the wide diffusion of prints throughout Europe provided ample references for enamelers who either borrowed from them directly or mixed-and-matched source material to realize their designs. Fig. 01: Marcantonio Raimondi (after Raphael), Quos Ego, engraving, ca. 1515-16 (Metropolitan Museum of Art, Borrowing from prints was a practice both enamelers Inv. 19.52.10) and plaquette-makers shared in common. In Northern Europe this is especially evident where Northern plaquette-makers based their reliefs on the same prints used also by enamelers. Examples include productions based upon Dürer’s Passion series2 or the works of Bernard Salomon.3 The intersecting influence of prints on both enamels and Italian plaquettes can also be observed. One example is Marcantonio Raimondi’s Quos Ego (after Raphael) (Fig. 01), reproduced variably by Limoges enamelers (Fig. -
Vermeer in the Age of the Digital Reproduction and Virtual
VERMEER IN THE AGE OF THE DIGITAL REPRODUCTION AND VIRTUAL COMMUNICATION MIRIAM DE PAIVA VIEIRA Universidade Federal de Minas Gerais ABSTRACT: The twentieth century was responsible for the revival of the visual arts, lending techniques to literature, in particular, after the advent of cinema. This visual revival is illustrated by the intersemiotic translations of Girl with a Pearl Earring: a recent low-budget movie was responsible for the revival of ordinary public interest in an art masterpiece from the seventeenth century. However, it was the book about the portrait that catalyzed this process of rejuvenation by verbalizing the portrait and inspiring the cinematographic adaptation, thereby creating the intersemiotic web. In this media-saturated environment we now live in, not only do books inspire movie adaptations, but movies inspire literary works; adaptations of screenplays are published; movies are adapted into musicals, television shows and even videogames. For James Naremore, every form of retelling should be added to the “study of adaptation in the age of the mechanical reproduction and electronic communication” (NAREMORE, 2000: 12-15), long previewed in Walter Benjamin’s milestone article (1936). Nowadays, the celebrated expression could be changed to the age of the digital reproduction and virtual communication, since new technologies and the use of new media have been changing the relations between, and within, the arts. The objective of this essay is to explore Vermeer’s influence on contemporary art and media production, with focus on the collection of portraits from the book entitled Domestic Landscapes (2007) by the Dutch photographer Bert Teunissen, confirming the study of recycling within a general theory of repetition proposed by James Naremore, under the light of intermediality. -
Some Pages from the Book
AF Whats Mine is Yours.indb 2 16/3/21 18:49 What’s Mine Is Yours Private Collectors and Public Patronage in the United States Essays in Honor of Inge Reist edited by Esmée Quodbach AF Whats Mine is Yours.indb 3 16/3/21 18:49 first published by This publication was organized by the Center for the History of Collecting at The Frick Collection and Center for the History of Collecting Frick Art Reference Library, New York, the Centro Frick Art Reference Library, The Frick Collection de Estudios Europa Hispánica (CEEH), Madrid, and 1 East 70th Street the Center for Spain in America (CSA), New York. New York, NY 10021 José Luis Colomer, Director, CEEH and CSA Centro de Estudios Europa Hispánica Samantha Deutch, Assistant Director, Center for Felipe IV, 12 the History of Collecting 28014 Madrid Esmée Quodbach, Editor of the Volume Margaret Laster, Manuscript Editor Center for Spain in America Isabel Morán García, Production Editor and Coordinator New York Laura Díaz Tajadura, Color Proofing Supervisor John Morris, Copyeditor © 2021 The Frick Collection, Centro de Estudios Europa Hispánica, and Center for Spain in America PeiPe. Diseño y Gestión, Design and Typesetting Major support for this publication was provided by Lucam, Prepress the Centro de Estudios Europa Hispánica (CEEH) Brizzolis, Printing and the Center for Spain in America (CSA). Library of Congress Control Number: 2021903885 ISBN: 978-84-15245-99-5 Front cover image: Charles Willson Peale DL: M-5680-2021 (1741–1827), The Artist in His Museum. 1822. Oil on canvas, 263.5 × 202.9 cm. -
The Waddesdon Bequest Catalogue of the W. Rks F Art Bequeathed To
T HE WA DDES DO N BEQ U EST CATA LOGU E OF T HE W. R K S F A R T BEQ U EATHED TO THE BRITIS H MU S EU M E D D T D P I AN R H HIL M . BA RON F R N O SC , BY CH A R LE S H E R CU LE S R E A D K E E PE R OF T HE DE PAR T M E NT OF B R IT I S H A ND M E D IE VAL A NT IQU IT I ES AND ET H NOG R APHY LONDON PR INT E D BY OR DE R OF T H E T R U S T E E S SOLD AT T HE BRITISH MUSEUM D W A N BY LONGM A N S CO. PAT NOST R O , 39, ER ER B R D U A R ITCH r ICCA DILLY S R 1 B D O D S COV G D NA P A C0 . F T T NT A N E R Q , s, ; HE , 3, E R REE , E R E R GAN PAU L T NC T R fiB NE R CO PATE NOST HOU S E C A ING CR OS S R OA D E , RE H , R ER . H R A N D N Y F R OWDE OX F O D U N IV SITY P SS WA OU S AM N CO N HE R , R ER RE REH E, E R ER 1 90 2 [ A 11 f i g]: ts r es: f w d ] CHIS WlCK PR ESS : CHARLES WHITTING HAM A N D CO TOOK S COU R T C ANC Y LAN E LO N DON . -
Catalogue of the Mediaeval Ivories Enamels Jewellery
\5^ i ^*> FITZWILLIAM MUSEUM MCCLEAN BEQUEST CAMBRIDGE UNIVERSITY PRESS ILonDon: FETTER LANE, E.G. C. F. CLAY, Manackr u *[ .«...r^^ GFUinturgJ) : loo, PRINCES STREET Btrlin: A. ASHER AND CO. 1Lfip>ig: F. A. BROCKHAUS i^tiu Sork: G. P. PUTNAM'S SONS iSombaB Bnti ffalnittn : MACMILLAN AND CO.. Ltd. All rights reservai FITZWILLIAM MUSEUM MACLEAN BEQUEST CATALOGUE OF THE MEDIAEVAL IVORIES, ENAMELS, JEWELLERY, GEMS AND MISCELLANEOUS OBJECTS BEQUEATHED TO THE MUSEUM BY FRANK MCCLEAN, M.A., F.R.S. BY O. M. DALTON, M.A. Cambridge : at the University Press 1912 M Camiriirgf : PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS PREFACE " I ""HE present catalogue, though limited in extent, is concerned -^ with of a kind difficulties I objects presenting peculiar ; cannot claim to have surmounted all of these or to have avoided all the errors besetting the classification of similar works of art. In the Introduction I have tried to summarize our present knowledge, and to provide such references to the literature of each subject as will enable the reader to consult original sources of information. I wish to express my great indebtedness to Dr Montague James and Mr S. C. Cockerell for kind assistance rendered at various times during the preparation of the work, and in an especial degree to Dr C. H. Read of the British Museum, who has examined the collection with me and placed his wide knowledge freely at my disposal. The descriptions of nos. io8— 109 and of the Egyptian, Assyrian and Babylonian objects, nos. 119— 143, have been supplied by Mr F, W. -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782. -
Ebook Download Waddesdon Manor Catalogue: Savonnerie, The
WADDESDON MANOR CATALOGUE: SAVONNERIE, THE : JAMES A.DE ROTHSCHILD COLLECTION PDF, EPUB, EBOOK Pierre Verlet | 528 pages | 13 Jul 2006 | NATIONAL TRUST | 9780707800820 | English | Wiltshire, United Kingdom Waddesdon Manor Catalogue: Savonnerie, The : James A.De Rothschild Collection PDF Book Inheriting the manor upon her brother's death, Miss Alice de Rothschild became the protector of the house and is best remembered for her strict housekeeping rules that ensured the preservation of the collections. The house and its collection ; hear special talks given by the Rothschild family, located in, Treacles Tea Rooms. Email alerts Article activity alert. Ferdinand and his stud groom devised the plan, working with Conder. The documentary sources are incomplete, but a number of receipts for works of art do survive, for acquisitions largely made between and , slowing after the outbreak of the First World War, and then resuming at a slower pace in Minimum bids and our discretion. Beautifully illustrated with tipped in colour plates and many black and white illustrations. Any surplus so arising shall belong to the seller; d to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; e to charge interest at a rate not exceeding 1. It fits its site so naturally that it is hard to picture the scene before the house was built. Owned by National Trust and managed by the Rothschild Foundation, it is one of the National Trust's most visited properties, with over , visitors in Google Scholar. In , Munro developed his pod-like structures, adding elements of language in Snow Code , shown in the Manor. -
Download Pdf Version
PowerPoint presentation: notes for teachers Thomas Becket: relics and reliquaries Aims To help students interpret religious objects from the medieval world To help students use evidence to find out about the shrine of Thomas Becket in Canterbury. To encourage students to compare a range of sources in their enquiries Description • A sequence of 11 slides to explore an overall question: ‘What can we safely say about the shrine of Thomas Becket?’ • Slides 2-6 introduce students to the veneration of saints in the medieval world through the medium of relics and reliquaries • Slides 7-11 explore objects related to the murder of Thomas Becket and pilgrimage to the shrine of Becket at Canterbury. Teaching ideas • The presentation can be used on a whiteboard with the whole class or could be followed by individual students or groups. • Use slide 11 to compare the evidence and consider a series of statements about Becket. • Explore further the idea of relics carrying with them special powers derived from the holiness of Jesus and the saints, for example for healing. • Ask the students to consider what aspects of Becket’s murder made it very likely that he would be remembered as a martyr for the Christian faith. • Students can explore other aspects of pilgrimage in the medieval period: other shrines, who went on pilgrimages, the experience of pilgrimage etc. • You can take the exploration further by considering modern examples of martyrs, of places connected with significant occurrences, the power of relics and of the belongings of famous people. Notes on the pictures Slide 2: summary of the objects in slides 3-6 Slide 3: reliquary made to house a relic of the Holy Thorn; made in France about AD 1400-1410. -
Timeline of Enamel Art
TIMELINE OF ENAMEL ART This timeline comprising the main events in the history of enamel, together with a few historical events only partially related to enamel history. 5000 BC MESOPOTAMIA Earliest enamelled ceramics. 3000 BC EGYPT Enamelled glass and ceramics. 1500 BC MYCENAE Lion Hunt Dagger, first example of niello decoration (black ground mixture of copper, sulphur and silver, applied with technologies similar to enamelling). 1425 BC MYCENAE Earliest blue glass paste. 1300 BC CYPRUS Rings of Kouklia, earliest true cloisonné enamels without the aid of fixing cements. 1194 BC TURKEY Traditional date for the Trojan Wars. 1100 BC CYPRUS Sceptre of Kourion with cloisonné enamels. 753 BC ITALY Traditional date of the Foundation of Rome. 600 BC FRANCE Monochrome red enamel in Celtic Gaul. 500 BC SPAIN Gadir Collar (Cadiz, ex Phoenician colony), from the El Carambolo Treasure (Seville). 450 BC GREECE Earliest filigree enamels in Greece. 400 BC SWITZERLAND Celtic enamel in the La Tène culture. 350 BC CRIMEA Cloisonné enamel in the Kul-Oba treasure. 325 BC NEAR AND MIDDLE Apogee of Alexander the Great. EAST 30 BC SUDAN In ancient Nubia, Treasure of Queen Amanishakheto, late Egyptian period. 6-2 BC PALESTINE Birth of Jesus of Nazareth. BEGINNING OF THE CHRISTIAN ERA. 69-96 AD GERMANY Findings from the Flavian dynasty. 240 FRANCE During his period in Rome, Greek historian Philostratus of Lemnos writes that the Barbarians melt colours on hot bronze. 300 FRANCE In Vaison La Romaine, finding of an enamelled bronze Roman fibula. 313 ITALY Edict of Milan: Constantine declares that Christians can freely practice their religion. -
Science and Aging Gracefully Part 2: Attempts to Increase Our Health Span and Ward Off the Effects of Age
US Sylvia R. Karasu M.D. The Gravity of Weight "A Privileged Way of Knowing:" Science and Aging Gracefully Part 2: Attempts to increase our health span and ward off the effects of age. Posted Feb 05, 2020 Marcus Tullius Cicero, the Roman statesman and perhaps the greatest orator of his era, wrote his classic work de Senectute, On Old Age, when he was about 63 years old. Alas, Cicero never got to experience the glorious benefits of advanced old age that he chronicles: within the year, he was assassinated—beheaded—on the order of his political rivals. Cicero had even successfully defended in court the man, merely attempting to curry favor with those in power, who murders him. (Peck, editor, Harper’s Dictionary of Classical Literature and "The Assassination of Cicero," 15th century, by an Antiquities, pp. 339-345, 1963) And we think our American politicians unknown artist. Cicero, the Roman statesman and orator, was only about 63 years old when he was behave egregiously! killed on the order of his political rivals. He never was able to experience the joys of advanced old age he chronicles in his essay, written within the In de Senectute, though, Cicero makes an heroic effort to persuade year before his death. his audience that elegance and authority come with old age. Most Source: Wikimedia Commons/Public Domain people, though, will find Cicero’s essay unconvincing and prefer to avoid the almost inevitable frailties and deterioration that old age brings. Both the mythological figures of the Cumaean Sibyl, the prophetess of Apollo, and Tithonus, son of a king of Troy, were granted long life by the gods but without remaining young, they bemoaned their fate of a withering and infirm old age and even preferred a death that was no longer available to them. -
The Waddesdon Bequest to the British Museum, Baron Ferdinand
m^^m(mm§:iW:% ry OF :NIA lEGO IC7 CATALOGUE OF THE WADDESDON BEQUEST {/:^nT^^r, y'-/(^ret{r?i. THE WADDESDON BEQUEST CATALOGUE OF THE WORKS OF ART BEQUEATHED TO THE BRITISH MUSEUM BY BARON FERDINAND ROTHSCHILD, M.P. 1898 ]5v CHARLES HERCULES READ KEEPER OF THE nEl'ART.MENT OF BRITISH AND MEDI.KVAI. ANTIQUITIES AND ETHNOGRAPHY LONDON TRLNTED BY ORDER OF THE TRUSTEES SOLD AT THE BRITISH MUSEUM AND BY LONGMANS & CO., 39, PATERNOSTER ROW BERNARD yUARITCH, 15, PICCADILLY; ASHER & CO., 13, BEDFORD STREET, COVENT GARDEN KEGAN PAUL, TRENCH, TRUBNER & CO . PATERNO.STER HOUSE, CHARING CROSS ROAD AND HENRY FkOWDE, OXFORD VNIVEKSITV l>kKSS WAREHOUSE, AMEN CORNER igo2 \All rights reserved'\ CHISWICK PRESS: CHARLES WHITl INCHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. LIST OF PLATES. PLATE Portrait of Baron Ferdinaxd Rotiisciiiij). {^Frontispiece?) \. Greek litter handles (No. i). II. Italian bronze knocker {No. 4). III. Dama.scened shield bv Giorgio Ghisi (The Demidoff shield) (No. 5). IV. Damascened morion (No. 6). V. Italian sword handles (Nos. ii, 12). VI. Limoges enamel panel. Diixj and /Eneas .(No. 20). VII. Two Limoges enamel c.\skets (Nos. 22, 23). VIII. Limoges enamel roRTR.\iT of Catherine of Lorraine (No. 24). IX. Limoges enamel dish bv Martial Courtois (No. 31). X. Limoges enamel dish kv Je.an Courtois (No. h). XI. Limoges enamel portrait of Diane de Poitiers (No. 39). XII. Limoges enamel dish bv Susanne Court (No. 48). XIII. Limoges enamels. Plate bv Jean Courtois (No. 34) and casket BY Susanne Court (No. 51). XIV. Glass Saracenic goblet (No. 53).