Acquisitions the Print Room*
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Rembrandt Van Rijn
Rembrandt van Rijn 1606-1669 REMBRANDT HARMENSZ. VAN RIJN, born 15 July er (1608-1651), Govaert Flinck (1615-1660), and 1606 in Leiden, was the son of a miller, Harmen Ferdinand Bol (1616-1680), worked during these Gerritsz. van Rijn (1568-1630), and his wife years at Van Uylenburgh's studio under Rem Neeltgen van Zuytbrouck (1568-1640). The brandt's guidance. youngest son of at least ten children, Rembrandt In 1633 Rembrandt became engaged to Van was not expected to carry on his father's business. Uylenburgh's niece Saskia (1612-1642), daughter Since the family was prosperous enough, they sent of a wealthy and prominent Frisian family. They him to the Leiden Latin School, where he remained married the following year. In 1639, at the height of for seven years. In 1620 he enrolled briefly at the his success, Rembrandt purchased a large house on University of Leiden, perhaps to study theology. the Sint-Anthonisbreestraat in Amsterdam for a Orlers, Rembrandt's first biographer, related that considerable amount of money. To acquire the because "by nature he was moved toward the art of house, however, he had to borrow heavily, creating a painting and drawing," he left the university to study debt that would eventually figure in his financial the fundamentals of painting with the Leiden artist problems of the mid-1650s. Rembrandt and Saskia Jacob Isaacsz. van Swanenburgh (1571 -1638). After had four children, but only Titus, born in 1641, three years with this master, Rembrandt left in 1624 survived infancy. After a long illness Saskia died in for Amsterdam, where he studied for six months 1642, the very year Rembrandt painted The Night under Pieter Lastman (1583-1633), the most impor Watch (Rijksmuseum, Amsterdam). -
Woodcut Society 1932-1954 by Cori Sherman North with Transcriptions by John R
With the Grain: Presentation Prints of the Woodcut Society 1932-1954 by Cori Sherman North with transcriptions by John R. Mallery With the Grain: Presentation Prints of the Woodcut Society 1932-1954 by Cori Sherman North with transcriptions by John R. Mallery A digital publication printed in conjunction with an exhibition held at the Birger Sandzén Memorial Gallery from March 31 through June 2, 2019 The show included a complete set of the 44 prints in their original letterpress folders This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. On the cover: Twilight Toil by Allen Lewis, 1943, color woodcut and linoleum cut The Birger Sandzén Memorial Gallery in participating printmakers. Lindsborg, Kansas, is exhibiting its complete set of Woodcut Society membership prints in The Woodcut Society was primarily geared their original presentation folders, March 22 toward print collectors, with the publications through June 2, 2019. The 44 blockprints— “intended to be savored in the intimate setting wood engravings, woodcuts, and linocuts—were of one’s private library.”2 The membership print created by an international cast of 32 artists commissions were “all selected by one man, and reveal a wide variety of subject matter and unencumbered by juries or trustees, H.A. [Harry technique. Of the printmakers, Asa Cheffetz Alfred] Fowler, Director of the Society.”3 Artists (1897-1965), Paul Landacre (1893-1963), Clare were instructed to pull 200 impressions in one Leighton (1898-1989), and Thomas Nason (1889- edition, but the subject matter and edition paper 1971) each completed three membership prints, choice were left entirely to the printmaker. -
The Circumcision 1661 Oil on Canvas Overall: 56.5 X 75 Cm (22 1/4 X 29 1/2 In.) Framed: 81.3 X 99 X 8.2 Cm (32 X 39 X 3 1/4 In.) Inscription: Lower Right: Rembrandt
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt van Rijn Dutch, 1606 - 1669 The Circumcision 1661 oil on canvas overall: 56.5 x 75 cm (22 1/4 x 29 1/2 in.) framed: 81.3 x 99 x 8.2 cm (32 x 39 x 3 1/4 in.) Inscription: lower right: Rembrandt. f. 1661 Widener Collection 1942.9.60 ENTRY The only mention of the circumcision of Christ occurs in the Gospel of Luke, 2:15–22: “the shepherds said one to another, Let us now go even unto Bethlehem.... And they came with haste, and found Mary and Joseph, and the babe lying in a manger.... And when eight days were accomplished for the circumcising of the child, his name was called Jesus.” This cursory reference to this most significant event in the early childhood of Christ allowed artists throughout history a wide latitude in the way they represented the circumcision. [1] The predominant Dutch pictorial tradition was to depict the scene as though it occurred within the temple, as, for example, in Hendrick Goltzius (Dutch, 1558 - 1617)’ influential engraving of the Circumcision of Christ, 1594 [fig. 1]. [2] In the Goltzius print, the mohel circumcises the Christ child, held by the high priest, as Mary and Joseph stand reverently to the side. Rembrandt largely followed this tradition in his two early etchings of the subject and in his 1646 painting of the Circumcision for Prince Frederik Hendrik (now lost). [3] The Circumcision 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century The iconographic tradition of the circumcision occurring in the temple, which was almost certainly apocryphal, developed in the twelfth century to allow for a typological comparison between the Jewish rite of circumcision and the Christian rite of cleansing, or baptism. -
Read Book the Story of Design: from the Paleolithic to the Present
THE STORY OF DESIGN: FROM THE PALEOLITHIC TO THE PRESENT PDF, EPUB, EBOOK Charlotte Fiell, Peter Fiell | 512 pages | 25 Oct 2016 | Monacelli Press | 9781580934701 | English | United States The Story of Design: From the Paleolithic to the Present PDF Book Buy It Now. Nature and the natural sciences will be considered as presented in the drawings of Leonardo. The course addresses modernism as a global project, presenting several case studies from across the world that unfold to show how multiple kinds of modernism developed in different times and distant places. Best Selling in Nonfiction See all. Illumination, illustration, interpretation -- these are all terms that can apply to the images in medieval and Renaissance manuscripts. Cathedrals and Cities will consider the art and architecture of Western Europe between Greenlights by Matthew McConaughey Hardcover 5. Architectural culture discussed in this course will range widely in scale, dispersal and geography - from the igloo of a small Inuit hunting party to the entire Mayan city of Chichen Itza, to the terrace and irrigation systems of the Inca. First, this course will explore the history, anthropology, and overall context of the development of traditional indigenous American textile production methods. The waitlist will be strictly followed. Charlotte Bronte Books. The course will require a final research project. Japanese ukiyo-e woodblock prints: studying from the originals - curating a temporary exhibition at the Print Room of the RISD Museum This art history course pursues two goals - 1 to familiarize students with ukiyo-e woodblock prints as a distinctive, vibrant and highly influential form of Japanese art, and 2 to introduce students to various academic methods employed in art history in the art museum setting. -
The Summer Reading Issue
US $30 The Global Journal of Prints and Ideas July – August 2019 Volume 9, Number 2 The Summer Reading Issue: Recommended Reading for the Print-Curious, from History to Fiction Léon Spilliaert in the Margins • Turning the Pages with Ed Ruscha • Jan Svenungsson • Prix de Print • News THE LARGEST INTERNATIONAL ART FAIR CELEBRATING 500 YEARS OF PRINTMAKING OCTOBER 23–27 2019 JAVITS CENTER I NEW YORK CITY EXHIBITORS Alan Cristea Gallery Goya Contemporary/ Paulson Fontaine Press Alice Adam Ltd. Goya-Girl Press Paupers Press August Laube Buch Graphicstudio/USF Polígrafa Obra Gráfica & Kunstantiquariat Harris Schrank Fine Prints R. S. Johnson Fine Art Bernard Jacobson Graphics Hauser & Wirth Redfern Gallery Ltd. Brooke Alexander, Inc. Hill-Stone, Inc. Ruiz-Healy Art C. G. Boerner Isselbacher Gallery Scholten Japanese Art Carolina Nitsch Jim Kempner Fine Art Shark's Ink. Catherine Burns Fine Art John Szoke Gallery Sims Reed Gallery Childs Gallery Krakow Witkin Gallery Sragow Gallery Cirrus Gallery Kunsthandlung Stanza del Borgo Crown Point Press Helmut H. Rumbler Stoney Road Press David Tunick, Inc. Lelong Editions STPI Dolan/Maxwell Marlborough Graphics Susan Sheehan Gallery Durham Press, Inc. Mary Ryan Gallery Susan Teller Gallery Emanuel von Baeyer mfc-michèle didier Tamarind Institute Flowers Gallery Mike Karstens Tandem Press Flying Horse Editions/UCF Mixografia® The Old Print Shop, Inc. G. W. Einstein Company, Inc. Niels Borch Jensen The Tolman Collection of Tokyo Gallery & Editions Galeria Toni Tàpies - Edicions T Thomas French Fine Art Osborne Samuel Ltd. Galerie Maximillian Two Palms Pace PrintsParagon Galerie Sabine Knust Universal Limited Art Editions, Inc Paramour Fine Arts Gallery Neptune & Brown Ursus Rare Books Paul Prouté s.a. -
Curatorial Reflections on Print Rooms and Libraries
Andrew Robison Curatorial Reflections on Print Rooms and Libraries THE GENERAL RELATIONSHIP between libraries and museums is simply too broad a subject for me to wrestle with, although I am very glad that Gerald Beasley in his article in this issue has done such an excellent job of it. I intend, therefore, to focus on something more immediately relevant to my position, namely the relationship between libraries and museum collections of prints, or print rooms. That relation ship, as you might expect, is a very close one. Whatever else libraries may collect— from musical instruments to eyeglasses to stuffed animals to other artifacts—and whatever else print rooms may have—from drawings to copper plates to sculpture multiples and so forth—at their core, even in this digital age, both collect printed matter. Historically, many print rooms started as library departments, like those at the Bibliothèque Nationale de France and the New York Public Library, or in conjunction with libraries, as at the British Museum. Occasionally, some libraries actually began as parts of print rooms, such as in the Fogg Art Museum at Harvard or the Hamburg Kunsthalle. Of course, print rooms and libraries do not collect precisely the same things, but just how should we distinguish them? Shall we say that print rooms collect printed images and libraries collect printed texts? That would be too simplistic, because print rooms also collect texts and libraries also collect images. Yet there is a grain of truth here, as virtually no print rooms with which I am familiar collect printed texts without any images, and few libraries without print rooms collect images without any text. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
Download Object File (PDF 180KB)
Teaching with unique collections Printmaking tools Baillieu Library Print Collection, University of Melbourne American and German makers Needle, rocker, burnisher, woodcutting knives, roller and dabber, 20th century manufactured wood and metal Baillieu Library Print Collection University of Melbourne 0000.1156 – 0000.1163 Printmaking tools | 1 Teaching with unique collections Two types of printmaking processes are represented by these tools: intaglio and relief. The oldest of these is relief, which is used for woodcuts (and later for linocuts). ‘Intaglio’ derives from an Italian word meaning to incise; incising occurs on metal plates to create engravings, etchings and mezzotints. In both intaglio and relief prints, a roller is used to apply ink to the block or plate before it is run through a press. A dabber is typically used to push ink into the incised lines of an intaglio plate. The image printed from the block or plate appears in mirror image on the sheet. To create a woodblock relief print, a variety of woodcutting knives are used. This process requires all non-printed areas to be cut away so that the image is left standing in relief, ready to receive the ink. Wood engravings are also relief prints, but are cut into the end-grain of the wood, whereas a woodblock is cut on the plank-side of the wood. Metal plate engravings are made by cutting directly into the plate with a tool such as a needle or burin. Different tones (variations of light and dark) are created by varying the line, and by cross- hatching. In etching, a ground, usually wax or shellac, is spread all over the plate. -
Abraham Meeting the Lord and Two Angels: Making the Case for Ferdinand Bol and Workshop
Volume 5, Issue 2 (Summer 2013) Abraham Meeting the Lord and Two Angels: Making the Case for Ferdinand Bol and Workshop Jan L. Leja Recommended Citation: Jan L. Leja, “Abraham Meeting the Lord and Two Angels: Making the Case for Ferdinand Bol and Workshop” JHNA 5:2 (Summer 2013), DOI:10.5092/jhna.2013.5.2.13 Available at https://jhna.org/articles/abraham-meeting-the-lord-and-two-angels-making-case- ferdinand-bol-workshop/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 5:2 (Summer 2013) 1 ABRAHAM MEETING THE LORD AND TWO ANGELS: MAKING THE CASE FOR FERDINAND BOL AND WORKSHOP Jan L. Leja Ferdinand Bol (1618–1680) is credited with the authorship of two drawings of the same subject, Abraham Meeting the Angels. One is a quickly drawn sketch and the other is a detailed drawing. The former is housed in the Rijkspren- tenkabinet, Amsterdam, the latter, in the Graphsiche Sammlung Albertina, Vienna. This article examines two aspects of these works, subject and authorship. In the course of the twentieth century, the subject was identified as both God Appearing to Abraham and Abraham Greeting the Angels. Here the arguments in favor of a more accurate title, Abraham Meeting the Lord and Two Angels, are examined. -
The Morgan to Present More Than Ninety Drawings by Rembrandt and Other Important Dutch Artists This Winter
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN TO PRESENT MORE THAN NINETY DRAWINGS BY REMBRANDT AND OTHER IMPORTANT DUTCH ARTISTS THIS WINTER WORKS ARE FROM THE PRIVATE COLLECTION OF CLEMENT C. MOORE AND WILL BE EXHIBITED TOGETHER FOR THE FIRST TIME Rembrandt’s World: Dutch Drawings from the Clement C. Moore Collection January 20–April 29, 2012 **Press Preview: Thursday, January 19, 10 a.m. until noon** RSVP: (212) 590-0393, [email protected] New York, NY, January 6, 2012—Bolstered by its recent political independence, economic prosperity, and maritime supremacy, the Dutch Republic witnessed an artistic flourishing during the seventeenth century, known as the Dutch Golden Age. The Morgan Library & Museum presents over ninety drawings by some of the preeminent artists of the period—among them Rembrandt Harmensz. van Rijn and his followers Ferdinand Bol and Gerbrand van den Eeckhout; Abraham Bloemaert; Aelbert Cuyp; and Jan van Goyen—in an exhibition titled Rembrandt’s World: Dutch Drawings from the Clement C. Moore Collection, on view from January 20 through April 29, 2012. The Dutch Republic of the seventeenth century was a federation of seven states—Holland, Zeeland, Gelderland, Utrecht, Friesland, Overijssel, and Groningen. The exhibition focuses on artists who worked primarily in their native lands, rather than those whose careers took them to France, Italy, or elsewhere abroad, and highlights the broad spectrum of subjects— portraiture, marine views, landscapes, biblical Rembrandt Harmensz. van Rijn (1606–1669) St. Peter Preaching (?) and mythological narratives, genre scenes, and Black chalk All works: Clement C. -
Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St. -
Abstracts of Amsterdam 2010 Conference Workshops
HNA in Amsterdam - "Crossing Boundaries" Workshop Summaries Rethinking Riegl Jane Carroll [email protected] Alison Stewart [email protected] In 1902, Alois Riegl wrote the Urquelle for all subsequent studies of Northern European group portraits, Das holländische Gruppenporträt. In that work, Riegl expanded art history beyond the contemporary emphasis on formalism and stylistic evolution. Drawing upon his interest in the relationship of objects within a work, Riegl asked his readers to expand that idea to include the viewer of art as an active participant in the understanding of visual works, an element he called “attentiveness.” In short, Riegl's book crossed the accepted boundary of what art history could consider and made viewing art a living exchange between present and past, and between viewer and object. Since its publication, all who have dealt with group portraiture have had to come into dialogue with Riegl’s book. In 1999, the Getty responded to a revived interest in Riegl's theories and republished The Group Portraiture of Holland in a new translation with historical introduction by Wolfgang Kemp. This reissuing increased the accessibility of Riegl’s work and reintroduced him to new generations of art historians. Prompted by that volume, we would like to gather together a group of scholars before the extensive collection of group portraits in the Amsterdams Historisch Museum. The venue of their Great Hall seems a perfect spot in which to reexamine the larger claims of Riegl’s work, and discuss current understandings of Dutch group portraiture. In keeping with the conference theme, we will explore how this genre crosses such boundaries as public vs.