Classical Paintings in London
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
The Masterpieces of Titian; Sixty Reproductions of Photographs From
COWANS S ART BOOKS 6*mT THE MASTERPIECES O T0 LONDON O GLASGOW, GOWANS & QRAY, L m From the Library of Frank Simpson « Telegraphic Address Telephone No. ** GALERADA, 1117, LONDON.” MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S,W* PURCHASERS AND SELLERS OF FINE PICTURES BY THE BEST OLD MASTERS. Messrs. CLAUDE & TREVELYAN also invite the attention of anyone desiring Portraits painted in Pastel, to the works of Mr. E. F. Wells, the clever painter of Portraits in Pastel. Attention is also directed to the work of Mr. Hubert Coop and Mr. Gregory Robinson, exceptionally clevet painters of Marine and Landscape Pictures in Oil and Water Colour, and to the exceedingly fine Portraits of Horses by Mr. Lynwood Palmer. Pictures and Engravings Cleaned and Restored. Valuations made for Probate or otherwise. Collections Classified and Arranged, CREAT CONTINENTAL SUCCESSES No. 1 KARL . HEINRICH The Original of the Play OLD HEIDELBERG Which has been acted with such very great success by Mr. George Alexander. By W. MEYER-FORSTER. WITH 12 ILLUSTRATIONS. THE ONLY TRANSLATION. Cloth, 3/6 Net. GOWANS & GRAY, Ltd., London and Glasgow. m Is Its* mmt ksfamssSteg Sites is lU^ws&shsr® t® *M mfe» ®»fe to Bwy ©r S^J Q0IUIKE ANTIQUES. FREE TO CONNOISSEURS «y hxssiRATEfi Catalogue Goods Purchased mmen Returnable if Disapproved* Sm&M Items seal oe appro, to satisfactory applicants. S©S Ev®r-clsaftg1f!g Pieees of ©Id gteina, &sd P&ttmy siwaye an feanS, The , . Connoisseur tre&fM ®n elf euBl«efs (ntensfing fo Coffttefor® mb persont #f culture. HE articles are written fey T acknowledged experts, and are illustrated fey unique photographs mtd drawings of ha* portaat examples a»d collections fro® every part of the world. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Rembrandt, Vermeer and Other Masters of the Dutch Golden Age at Louvre Abu Dhabi
REMBRANDT, VERMEER AND OTHER MASTERS OF THE DUTCH GOLDEN AGE AT LOUVRE ABU DHABI SOCIAL DIARY | FEBRUARY, 2019 From 14 February to 18 May 2018, Louvre Abu Dhabi will present Rembrandt, Vermeer and The Dutch Golden Age: Masterpieces from The Leiden Collection and the Musée du Louvre. Jan Lievens (1607-1674) Boy in a Cape and Turban (Portrait of Prince Rupert of the Palatinate) ca. 1631 Oil on panel New York, The Leiden Collection Image courtesy of The Leiden Collection, New York. Marking the 350th anniversary of Rembrandt’s death, this new exhibition at Louvre Abu Dhabi is the largest showing to date in the Gulf Region of works by Dutch 17th-Century masters. This exhibition is the result of a remarkable collaboration of Louvre Abu Dhabi, The Leiden Collection, The Musée du Louvre and Agence France-Museums who have worked very closely to showcase this extraordinary assemblage of 95 paintings, drawings and objects. Also a rare opportunity to see 16 remarkable paintings by Rembrandt van Rijn, along with rare pieces by Johannes Vermeer, Jan Lievens or Carel Fabritius. Not familiar with The Dutch Golden Age? It was a brief period during the 17th century when the Dutch Republic, newly independent from the Spanish Crown, established itself as a world leader in trade, science and the arts, and was regarded as the most prosperous state in Europe. During this period, Rembrandt and Vermeer established themselves at the forefront of a new artistic movement characterized by a deep interest in humanity and daily life. This exhibition is drawn primarily from The Leiden Collection, one of the largest and most significant private collections of artworks from the Dutch Golden Age. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Beaumont Art League Summer Activities
A View From The Top Greg Busceme, TASI Director THIS IS OUR SUMMER ISSUE which is fol- 50 organizations receive a $1,000 grant. lowed by two months of limited communi- We are grateful for The Stark cation by mail or print. Foundation’s contribution to The Art This is partially by design and partial- Studio. The funds will go to rebuilding our ly by necessity to give us a chance to security fence around the Studio yard and recover from our printing and mailing improving our parking arrangements — Vol. 17, No. 9 ISSUE costs for monthly invitations and newspa- an integral part of an ongoing project to pers. Printing costs alone average about revitalize our facility as we recover fully Publisher . The Art Studio, Inc. $580 a month. from the storms. We already have part- Editor . Andy Coughlan This is not just to whine but to let ners in this project beginning with Boy Copy Editor . Tracy Danna everyone know we are getting serious Scout Eagle candidate Brandon Cate. In Contributing Writers . Elena Ivanova about membership renewals and new pursuit of being an Eagle Scout, Brandon Distribution Volunteer . Elizabeth Pearson members. For the first time, we can only has taken on the task of striping our new send exhibition announcements and parking area for improved space and a The Art Studio, Inc. Board of Directors ISSUE to members in good standing. safer environment. On our part, we will We hope those non-members who use the Stark funds to get the material President Ex-Officio . Greg Busceme have been enjoying our mailings remem- necessary to put up a fence on the front of Vice-President. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) 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: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. 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 in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Scultore Emiliano Emilia (Italy) Last Decades of 18Th Century Saint Anthony the Abbot Sant’Antonio Abate
2 Caiati & Gallo 4 Caiati & Gallo Caiati & Gallo Milan, Via Gesù, 17 9 October - 8 November 2014 Monday - Saturday 10 am / 1 pm - 2 / 7 pm Contributions by: Alicia Adamczak Charles Avery Andrea Bacchi Sandro Bellesi Giorgio Bonsanti Marcello De Grassi Léon Lock Silvia Massari Fernando Mazzocca Susanna Zanuso Aknowledgements: Accademia di Belle Arti di Bologna, Associazione Antiquari d’Italia, Axa Arte - Italia, Carina Branzei, Francesco Calandra, Italo Carli, Arturo De Angeli, Alessandro Della Latta, Paolo Frassetto, F.C. studio Perotti, Milano, Saverio Fontini, Graziano Gallo, Jutta Kappel, Massimo Listri, Chiara Piani, Dagmar Preising, Arturo Sansoni, Frits Scholten, Christian Theuerkauff, Matthias Weniger Translations: Christian Bayliss, Serenella Castri e William George Glandon Exhibition Design Maestro Antonio Mastromattei Design and printing: Saverio Fontini - [email protected] © Partial or total reproduction for collective use of the present publication is strictly forbidden without the publisher’s specific authorization. Printed in Florence - Italy, September 2014 © Edizione Scribo srl - Firenze © Caiati & Gallo ISBN: 9788890652929 Caiati & Gallo Old Masters and Works of Art The Sparkling Soul of Terracotta Exhibition project devised from an idea of Roberto R.Caiati and Giorgio Gallo edited by Serenella Castri Via Gesù, 17 20121 Milan - Italy +39 02 794866 - +39 02 783863 www.caiatigallo.com - [email protected] Antonio Begarelli Modena, 1499 - 1565 Saint with book (St. Justine?) Santa con libro (santa Giustina?) Terracotta h. 96 cm (37 13/16 in.) Provenance Padua, private collection Antonio Begarelli, plasticatore in terracotta nel Cinquecento Antonio Begarelli, a terracotta sculptor in the sixteenth emiliano, nacque a Modena probabilmente nel 1499, figlio di century in Emilia, was born in Modena probably around un Giuliano “fornaciaio”. -
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. -
THE EARLIER WORK of TITIAN by CLAUDE
THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and -
Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh.