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From Artist to Audience: Italian Drawings and Prints from the 15Th Through 18Th Centuries C
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 3-3-2016 From Artist to Audience: Italian Drawings and Prints from the 15th Through 18th Centuries C. Madeline Fritz Dickinson College Paris Humphrey Dickinson College Samantha Mendoza-Ferguson Dickinson College Sara Pattiz Dickinson College Rebecca Race Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Art and Design Commons Recommended Citation Schlitt, Melinda, et al.From Artist to Audience: Italian Drawings and Prints from the 15th Through 18th Centuries. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2016. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors C. Madeline Fritz, Paris Humphrey, Samantha Mendoza-Ferguson, Sara Pattiz, Rebecca Race, Isabel Richards, Samuel Richards, Melinda Schlitt, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/41 FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries Works from the Darlene K. Morris Collection March 4 – April 16, 2016 Curated by: C. Madeline Fritz Paris Humphrey Samantha Mendoza-Ferguson Sara Pattiz Rebecca Race Isabel Richards Samuel Richards THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. -
1 Executive Summary 1. Brief Description of Item Girolamo
Executive Summary 1. Brief description of Item Girolamo Francesco Maria Mazzola, called Parmigianino (1503–1540) The Madonna and Child with the Young Saint John the Baptist and Mary Magdalene, c. 1535–40 Oil on paper, laid on panel, 75.5 x 59.7 cm A seated Madonna in a pink and blue gown—positioned to the right of the composition—looks down at the standing Christ Child and holds his left arm. The Child in turn looks towards the young Saint John the Baptist whose hands are together in prayer. Behind the Christ Child, and supporting him, is a seated young woman, almost certainly Mary Magdalene; she is identified by the jewellery chest in the foreground. What is probably her assumption appears in the top left – behind the verdant landscape and stream, and above a rocky outcrop – in the form of a figure atop a cloud. The work is in excellent, almost pristine condition. 2. Context Provenance Cardinal Antonio Barberini (1607–1671), Palazzo Barberini, Rome, first mentioned in the 1644 inventory, no. 308; and again in his posthumous inventory of 1671, no. 143; thence by inheritance to his nephew, Prince Maffeo Barberini (1631–1685), Palazzo alle Quattro Fontane, Rome, listed in the 1672 inventory of Cardinal Antonio Barberini’s bequests to his brother, Cardinal Francesco Barberini, and nephew, Prince Maffeo Barberini, no. 62; and again in Prince Maffeo’s posthumous inventory of 1686, no. 273; thence by descent to his son, Prince Urbano Barberini, Prince of Palestrina (1664–1722), listed in an undated inventory (probably 1686) of the paintings inherited by Prince Urbano from his father, no. -
From Artist to Audience Would Not Have Been Possible This Elegant and Professional Publication
FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries FromITALIAN Artist DRAWINGS to AND Audience PRINTS from the 15th through 18th Centuries Works from the Darlene K. Morris Collection March 4 – April 16, 2016 Curated by: C. Madeline Fritz Paris Humphrey Samantha Mendoza-Ferguson Sara Pattiz Rebecca Race Isabel Richards Samuel Richards THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. Published by The Trout Gallery, Dickinson College, Carlisle, Pennsylvania 17013. Copyright © 2016 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from The Trout Gallery. All photographs Andrew Bale, unless otherwise noted. Design: Amanda DeLorenzo, Dickinson College Office of Design Services Printing: Pemcor, Inc., Lancaster, Pennsylvania ISBN 978-0-9861263-0-7 Cover: Carlo Urbino (attributed), Study sheet with Two Standing Men, ca. 1560. Drawing. Courtesy Darlene K. Morris Collection (cat. 14). Back cover: Diana Mantuana (Ghisi, Scultori), Farnese Bull (The Punishment of Dirce), 1581. Engraving. Courtesy Darlene K. Morris Collection (cat. 16). Title page: Gaetano Gandolfi,Saint Anthony the Great, ca. 1770. Etching. Courtesy Darlene K. Morris Collection (cat. 33). Acknowledgements Dickinson College’s senior Art History Seminar is unique for transporting the works himself to the College during the among undergraduate programs in art history in both process summer of 2015. He was also of great assistance in procuring and outcome. -
Carolyn's Guide to Florence and Its
1 Carolyn’s Guide to Be selective Florence and Its Art San Frediano Castello See some things well rather than undertaking the impossible task of capturing it all. It is helpful, even if seeming compulsive, to create a day planner (day and hour grid) and map of what you want to see. Opening hours and days for churches and museums vary, and “The real voyage of discovery consists not in it’s all too easy to miss something because of timing. seeking new landscapes but in having new eyes.” I make a special effort to see works by my fa- vorite artists including Piero della Francesca, Masac- Marcel Proust, Remembrance of Things Past cio, Titian, Raphael, Donatello, Filippo Lippi, Car- avaggio, and Ghirlandaio. I anticipate that it won’t be long before you start your own list. Carolyn G. Sargent February 2015, New York 2 For Tom, my partner on this voyage of discovery. With special thanks to Professoressa d’arte Rosanna Barbiellini-Amidei. Contents 1 Introduction 5 1.1 TheQuattrocento ............................................... 5 1.2 Reflections of Antiquity . 8 1.3 Perspective, A Tool Regained . 10 1.4 CreatorsoftheNewArt............................................ 10 1.5 IconographyandIcons............................................. 13 1.6 The Golden Legend ............................................... 13 1.7 Angels and Demons . 14 1.8 TheMedici ................................................... 15 2 Churches 17 2.1 Duomo (Santa Maria del Fiore) . 17 2.2 Orsanmichele . 21 2.3 Santa Maria Novella . 22 2.4 Ognissanti . 25 2.5 Santa Trinita . 26 2.6 San Lorenzo . 28 2.7 San Marco . 30 2.8 SantaCroce .................................................. 32 2.9 Santa Felicita . 35 2.10 San Miniato al Monte . -
Four Altarpieces from the Church of Santo Spirito in Florence (1485-1500)
ABSTRACT Title of dissertation: DECORATING THE HOUSE OF WISDOM: FOUR ALTARPIECES FROM THE CHURCH OF SANTO SPIRITO IN FLORENCE (1485-1500) Antonia Fondaras, Doctor of Philosophy, 2011 Dissertation directed by: Professor Meredith J. Gill Department of Art History and Archaeology This dissertation examines four altarpieces by different artists painted between 1485 and 1500 for Santo Spirito, the church of the Augustinian Hermits in Florence, in light of the Hermits’ influence on the paintings’ iconography. I argue that each of the altarpieces expresses a distinct set of Augustinian values and suggests appropriate modes of devotion and praxis. Together, the paintings represent an attempt on the part of the Florentine Hermits to convey their institutional and religious identity as heirs to Augustine’s spirituality. The first chapter reviews the history and thought of the Augustinian Hermits, the history of the convent of Santo Spirito and the building and decoration of its church. The second concerns Sandro Botticelli’s 1485 Madonna and Child Enthroned with Saints John the Baptist and John the Evangelist , which displays a nursing Virgin in a garden of scriptural quotations. The altarpiece portrays Holy Wisdom as the garden of Ecclesiasticus 24, as the Virgin immaculate created before all things, and, most importantly, as the Christ Child whose engorged breasts feed mankind. The third chapter addresses Piero di Cosimo’s 1490-1498 Visitation with Saints Nicholas of Bari and Anthony Abbot . Mary and Elizabeth’s junctio dextrarum seals, under the impression of the Holy Spirit, the union of the Testaments and the unity and authority of Ecclesia and accomplishes the “kiss of Justice and Peace” of Psalm 84. -
Important European Paintings
1 1380 Important 3 European 0 Paintings ROBERT SIMON FINE ART 1 1380 Important 3 European 0 Paintings 1 1380 Important 3 European 0 Paintings catalogue by Dominic Ferrante with Robert B. Simon ROBERT SIMON FINE ART Front cover and frontispiece, detail: Lorenzo di Credi, The Virgin Adoring the Christ Child with the Infant Saint John the Baptist, tempera on panel, tondo, 36 inches diameter (91.4 cm). Back cover, detail: Franz Xaver Winterhalter, Girl from the Sabine Hills (Mädchen aus den Sabiner Bergen), oil on canvas, 29 ¼ by 25 inches (74.5 by 63 cm). High-resolution digital photographs of the featured paintings are available upon request. © 2019 Robert Simon Fine Art, Inc. Designed by Lawrence Sunden Photography by Glenn Castellano Printing: The Studley Press ROBERT SIMON FINE ART 22 EAST 80TH STREET · NEW YORK · NY · 10075 TEL: 212·288·9712 FAX: 212·202·4786 BY APPOINTMENT AT: SATIS HOUSE 53 TOWER HILL ROAD EAST · TUXEDO PARK · NY · 10987 TEL: 845·351·2339 FAX: 845·351·4332 WWW.ROBERTSIMON.COM ROBERT B. SIMON LYDIA MELAMED JOHNSON DOMINIC FE RRANTE JR. [email protected] [email protected] [email protected] Introduction This is the first catalogue we have published since 2005. In the intervening fourteen years we have presented paintings and works of art through digital media, primarily via our website www.rob- ertsimon.com. While this is an effective way of sharing our holdings with those who know what we do, as well as those who do not and who might find the gallery incidentally, we have come to the realization that the very special paintings that we prize are now lost in a cacophonous storm of messages, advertisements, news items, and competing stimuli. -
(Title of the Thesis)*
FRANCESCO SALVIATI RITRATTISTA: EXPERIMENTS IN CINQUECENTO PORTRAITURE by Xiaoyin Huang A thesis submitted to the Graduate Program in Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (April, 2013) Copyright ©XiaoyinHuang, 2013 Abstract This dissertation aims to provide a comprehensive study of Francesco Salviati’s portraits, analyzed within a chronological framework. Traditional attributions are re-examined and recent discoveries included to establish a reliable core group of the artist’s portraits, one exhibiting a stylistic coherence. Salviati’s activities as a portraitist are placed in the historical, political, cultural and artistic context of his time, with particular emphasis on patronage. Versatile and well-connected, Francesco served a number of top-ranking patrons of his time, including Cardinal Giovanni Salviati, Pier Luigi and Alessandro Farnese (in Rome), Duke Cosimo I de’ Medici (in Florence), the Grimani family (in Venice), King Henri II, and the Cardinal of Lorraine in France. This study intends to navigate portraiture’s role in the relationships between the courtier-artist and his princely patrons. Characterized by innovation and experimentation, Salviati’s portraits vary in composition, media and supports. As one of the earliest artists to produce portrait miniatures in Italy, Francesco evidently introduced the genre to Cosimo I de’ Medici’s court to create an aura of a royal court equal to that in France and England. His experiments with the use of various stone supports for portraits are discussed in relation to his status as the leading painter in Rome after the death of Sebastiano del Piombo in 1547. -
Archived Press Release the Frick Collection
ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 Quincentenary of the Birth of Parmigianino Marked by Only One Exhibition in the United States A Beautiful and Gracious Manner: The Art of Parmigianino January 27 through April 18, 2004 New York’s Frick Collection is the only museum in the United States to present an exhibition celebrating the 500th anniversary of the birth of Parmigianino (1503–1540). Born in Parma and known as Parmigianino after his native city, Girolamo Francesco Maria Mazzola lived thirty-seven years, and his career spanned twenty. Yet in that brief time, the quantity, variety, and sheer beauty of his drawings came to exemplify the art of draftsmanship. Almost one thousand drawings by this prolific artist survive, and his graphic output represents the range of Renaissance practice in all its forms and media. Less than twenty years after his death, the humanist Ludovico Dolce stated, “Parmigianino endowed his creations with a certain beauty which makes whoever looks at them fall in love with them. Parmigianino (1503–1540) Saturn and Philyra, c. 1531–35 Pen and brown ink and brown wash with white So delicate and accurate was his draftsmanship that every drawing of heightening over black chalk underdrawing 11 x 8.1 cm his…astonishes the eyes of the beholder.” A Beautiful and Gracious Manner: Royal Collection © 2003 Her Majesty Queen Elizabeth II The Art of Parmigianino is organized by the National Gallery of Canada, Ottawa, and presents fifty-one drawings that span the artist’s career and illustrate the genius of his achievement.