DOCSLIB.ORG

Index I: Collections

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Index I: Collections Index I: Collections This index lists ail extant paintings, oil sketches and drawings catalogued in the present volume . Copies have also been included. The works are listed alphabetically according to place. References to the number of the catalogue entries are given in bold, followed by copy numbers where relevant, then by page references and finally by figure numbers in italics. AMSTERDAM, RIJKSMUSEUM BRUGES, STEDEEÏJKE MUSEA, STEINMETZ- Anonymous, painting after Rubens : CABINET The Calydonian Boar Hunt, N o .20, copy 6; Anonymous, drawings after Rubens: 235, 237 Hippopotamus and Crocodile Hunt, N o .5, Diana and Nymphs hanting Fallow Deer, copy 12; 120 N o.21, copy 5; 239 Hippopotamus and Crocodile Hunt, N o .5, cop y 13; 120 ANTWERP, ACADEMY Anonymous, painting after Rubens: Lion Hunt, N o.ne, copy 6; 177 Lion Hunt, N o.11, copy 2; 162 BRUSSELS, MUSÉES ROYAUX DES BEAUX-ARTS DE BELGIQUE ANTWERP, MUSEUM MAYER VAN DEN BERGH Anonymous, drawing after Rubens: H.Francken II, painting after Rubens: Hippopotamus and Crocodile Hunt: Fragment of W olf and Fox Hunt, N o .2, copy 7; 96 a Kunstkammer, N o.5, copy 10; 119-120, ANTW ERP, MUSEUM PLANTIN-M O RETUS 123 ;fig .4S Anonymous, painting after Rubens: Lion Hunt, N o .n , copy 1; 162, 171, 178 BÜRGENSTOCK, F. FREY Studio of Rubens, painting after Rubens: ANTWERP, RUBENSHUIS Diana and Nymphs hunting Deer, N o .13, Anonymous, painting after Rubens : copy 2; 46, 181, 182, 186, 188, 189, 190, 191, The Calydonian Boar Hunt, N o .12, copy 7; 185 208; fig.S6 ANTWERP, STEDELIJK PRENTENKABINET Anonymous, drawing after Rubens: CAMBRIDGE, FITZ WILLIAM MUSEUM Anonymous, drawing after Rubens : The Calydonian Boar Hunt, N o.20, copy 9; 235, 236 Head of an Oriental, N o .16, copy 6; 199, 204 BAYONNE, MUSÉE BONNAT C H ARLOTTEN LU N D , MUSEUM ORDRUPGAARD R ubens, d raw in g : T.Géricault, painting after Rubens: An Eagle with the Thunderbolt in its Claws, W o lf and Fox Hunt, N o .2, copy 4; 96 N o .i6 c ; 202, 20y;fig .ç6 CHATSWORTH, THE TRUSTEES OF THE BERLIN-DAHLEM, STAATLICHE MUSEEN CHATSWORTH SETTLEMENT PREUSSISCHER KULTURBESITZ, (?) A . van D y ck , d raw in g after R ubens: KUPFERSTICHKABINETT W olf and Fox Hunt, N o .2, copy 6; 96, 103; Rubens, drawing: fig -36 Oriental Huntsman with a Lance, N o . n c ; 168, 170, 175-176; fig.77 CLEVELAND, OHIO, THE CLEVELAND MUSEUM Anonymous, drawing after Rubens: OF ART Bull Hunt, N o.26, copy 15; 246, 256, 257, 258, Rubens, oil sketch: 259; fig-129 Bear Hunt, No.27a; 229, 263-264; fig. 133 BRIGHTON, BRIGHTON ART GALLERY COLOGNE, WALLRAF-RICHARTZ-MUSEUM (?) J.Thomas van Yperen, painting after Anonymous, drawings after Rubens: R ubens : The Calydonian Boar Hunt, N o .i, copy 4; 91 Diana and Nymphs hunting Fallow Deer, N o .21, The Calydonian Boar Hunt, No.12a, copy; 187 copy 6; 222, 239-240, 2 4 i; f ig .m Kicking Horse and Rider, N o .6, copy 7; 124 379 INDEXi: COLLECTIONS C OPENHAGEN, STATENS MUSEUM FOR KUNST, GERONA, .MUSEO ARQUEOLÓGICO K ONGELIGE KO BBERSTIKSAMLING, PROVINCIAL ‘RUBENS CANTOOR' (?) Rubens and Snyders, paintings: Anonymous, drawings after Rubens : The Death of Silvia's Stag, N o .25; 17, 35, 41, Atalanta’s right Leg, N o .12, copy 9; 185 218, 220, 230, 246, 250-253, 258, 259; fig.124 Diana and a Nymph, N o .13, copy 12; 189 Bull Hunt, N 0 .26; 35, 41, 218, 220, 230, 2 51- Head o f a Baar, N o .12, copy 10; 185 252, 2.54-260; fig .i26 Head o f a Doe, N o .13, copy 15; 189 GHENT, MUSEUM VOOR SCHONE KUNSTEN Head o f a Stag, N o.13, copy 14; 189 Anonymous, painting after Rubens : Leg of Diana and Leg of a Nymph, N o . 13, The Calydonian Boar Hunt, No.20a, copy 1; copy 13; 189 229, 237, 238, 250 A Man restraining a Honnd, N o.10, copy 13; Anonymous, drawing after Rubens: 157 Diana and Nymphs hunting Deer, N o . 17, M eleager’s Legs, N o.12, copy 11; 185 copy 8 ; 209 Nymph with a Dog and two other Nymphs, N o.13, copy 10; 188, 189-190, 193; fig-SS HOUGHTON HALL, NORFOLK, Nymph shooting an Arrow, N o.13, copy 11 ; THE MARQUESS OF CH O LiM O ND EL E Y 188-189 Rubens, oil sketch: The upper part of Atalanta's Body, N o . 12, Lion Hunt, N o . n b ; 27, 28, 164-165, 168, 169, cop y 8; 185 173, 174- 175, Ï7 7 ;fg -l6 CORSHAM COURT, WILTSHIRE, GÖTTINGEN, KUNSTSAMMLUNGEN DER LORD METHUEN UNIVERSITAT Studio of Rubens, painting retouched by Anonymous, painting after Rubens : R ubens: The Calydonian Boar Hunt, N 0 .1 2 , cop y 2; 185 W olf and Fox Lhmt, N o .2 b ; 44, 78, 95, 99, 100, HARTFORD, CONN., WADSWORTH ATHENEUM 105-107; fig-34 (?) R ubens, m o d ello : DRESDEN, GEMÂLDEGALERIE Tiger, Lion and Léopard Hunt, No.7a; 110, 123, Rubens, painting: 133, 140-141, 142., 145, 146-148, 155 ifig-ys Lion and Léopard Hunt, N o .8; 27, 46, 60, 71, IPSWICIT, MUSEUM 72, 80, 109, 110, 130, 140, 141, 147, 149-153, Anonymous, painting after Rubens : 154, 155, 169, 172, 204, 205; ftg.63 The Calydonian Boar Hunt, N o . 10, copy 8; DUBLIN, NATIONAL GALLERY OF IRELAND 157, 161 Anonymous, painting after Rubens : Hippopotamus and Crocodile Hunt, N o .5, JERSEY, SIR FRANCIS COOK copy 2; 119 Rubens, oil sketch: The Calydonian Boar Hunt, N o .2 0 a ; 34, 56, BASTON NESTON, TOW CESTER, NORTHANTS, 162, 186, 229, 236, 237-239; fig .ioy LORD HESKETH Studio of Rubens, painting after Rubens : LENINGRAD,HERMITAGE The Calydonian Boar Hunt, N o.12, copy 1 ; 46, Rubens, oil sketch: 181, 182, 185, 186, 187, 190, 208; fig .S i Lion Hunt, N o.na; 27, 61, 155, 168, 169, 173- 174, 175, 257; fig.yy FLORENCE, PALAZZO PITTI (?) J.Fyt, drawing after Rubens: (?) Studio of Rubens, painting after Rubens: Head o f a Wolf, N o .2, copy? 10; 97 Diana and Nymphs attacked by Satyrs, N o . 22, Anonymous, painting after Rubens : copy 2; 242-243, 244 ;fig .ii4 W olf and Fox Hunt, N o .2, co p y 2; 95-96, 99 FLORENCE, PRIVATE COLLECTION Anonymous, cartoon after Rubens: Anonymous, painting after Rubens : The Calydonian Boar Hunt, N o .20, copy 1 ; 221, Diana and a Nymph, N o.19, copy 5; 214, 216 234, 236 Anonymous, drawing after Rubens: FRANKFURT, STADELSCHES KUNSTINSTITUT Buil Hunt, N o .26, copvy n ; 255-256 Anonymous, painting after Rubens: Diana and Nymphs hunting Fallow Deer, LO N D O N , BRITISH MUSEUM No.2ia, copy 1; 241 Rubens, drawings: 380 INDEXi: COLLECTIONS Studies for a Lion Hunt and for fighting Wild MUNICH, ALTE PINAKOTHEK Animais and Monsters, N o .6 a ; 40, 101, 128, Rubens, paintings: 130-132, i68;fgs.j2, L3 Hippopotamus and Crocodile Hunt, N o.5; 26, Falling Mail, N o .n d ; 168, 170, 176-177; fig.78 27. 39> 62, 64, 72-74, 84, n i, 118-123, 132; (?) F.Snyders, drawing after Rubens: figs.46, 48 The Calydonian Boar Hunt, N o .18, copy 5; 208, Lion Hunt, N o .11 ; 18 ,19 , 20, 21, 27, 28, 38, 41, 2 11-2 12 ; fig.101 48, 62, 64, 66, 69, 84, 126, 127, 131, 132, 138, (?) P .S o u tm a n , d raw in g after R ubens: 155, 162-173, 174, 175, 176, 177, 178, 179, Hippopotamus and Crocodile Hunt, N o .5, 212; fig.74 copy 11; 120, 121-122, 127; fig.yo MUNICH, BAYERISCHE STAATS GEMALD E- LONDON, NATIONAL GALLERY SAMMLUNGEN Rubens, oil sketch: Anonymous, drawing after Rubens: Lion Hunt, N o .3; 27, 60, 62, 72, 80, 107-110, Lion Hunt, N o .1 1 , copy 7; 163 128, 130, 141, 153, 154, 155, 169, 200, 202, MUNICH, DEUTSCHES JAGDMUSEUM 203, 205, 262; fig.39 Anonymous, paintings after Rubens: Boar Hunt, N o.4, copy 5; 113 MADRID, DUQUESA DE SANTA MARCA Hippopotamus and Crocodile Hunt, N o .5, Anonymous, painting after Rubens : copy 7; 119 The Calydonian Boar Hunt, N o.10, copy 9; 157 Lion Hunt, N o.6, copy 5; 124, 127 MADRID, MANUEL GONZALEZ Tiger, Lion and Léopard Hunt, N o.7, copy 10; Studio of Rubens, painting after Rubens: 134.139 Boar Hunt, N0.4, copy 1; 113, 115-116; fig.41 NEW YORK, M ETROPOLITAN MUSEUM OF ART Rubens, painting: MADRID, MUSEO LAZARO GALDIANO Anonymous, paintings after Rubens : Wolf and Fox Hunt, N o .2; 19, 20, 22, 24-25, Diana and Nymphs hunting Deer, N o .13, 26, 39, 41, 44, 54, 55, 56, 64, 68, 81, 83, 84,93, cop y 5; 184, 188, 190 95-104, 105, 106, 116, 126, 130, 137, 154, 179, Diana and Nymphs attacked by Satyrs, N o .22, 191, i 9 5 ',figs-33, 35 cop y 4; 243 NÎMES, MUSÉE DES BEAUX-ARTS Anonymous, paintings after Rubens: MADRID, MUSEO DEL PRADO Bear Hunt, N o .27, copy 1; 220, 261, 262, 263; Rubens and F.Snyders, painting: fi &A 34 Diana and Nymphs attacked by Satyrs, N o .22; The Death of Actaeon, N o .23, copy 1 ; 220, 245, 17, 41, 43, 218, 219, 220, 226, 229, 242-245, 246; Jïg.115 252, 258, 262; fig.112 Diana and Nymphs attacked by Satyrs, N o .22, MADRID, PRIVATE COLLECTION cop y 1; 220, 242, 244; fig.
Load more

Recommended publications
  • The Great Apostasy   
    The Great Apostasy R. J. M. I. By The Precious Blood of Jesus Christ; The Grace of the God of the Holy Catholic Church; The Mediation of the Blessed Virgin Mary, Our Lady of Good Counsel and Crusher of Heretics; The Protection of Saint Joseph, Patriarch of the Holy Family and Patron of the Holy Catholic Church; The Guidance of the Good Saint Anne, Mother of Mary and Grandmother of God; The Intercession of the Archangels Michael, Gabriel, and Raphael; The Intercession of All the Other Angels and Saints; and the Cooperation of Richard Joseph Michael Ibranyi To Jesus through Mary Júdica me, Deus, et discérne causam meam de gente non sancta: ab hómine iníquo, et dolóso érue me Ad Majorem Dei Gloriam 2 “I saw under the sun in the place of judgment wickedness, and in the place of justice iniquity.” (Ecclesiastes 3:16) “Woe to you, apostate children, saith the Lord, that you would take counsel, and not of me: and would begin a web, and not by my spirit, that you might add sin upon sin… Cry, cease not, lift up thy voice like a trumpet, and shew my people their wicked doings and the house of Jacob their sins… How is the faithful city, that was full of judgment, become a harlot?” (Isaias 30:1; 58:1; 1:21) “Therefore thus saith the Lord: Ask among the nations: Who hath heard such horrible things, as the virgin of Israel hath done to excess? My people have forgotten me, sacrificing in vain and stumbling in their way in ancient paths.” (Jeremias 18:13, 15) “And the word of the Lord came to me, saying: Son of man, say to her: Thou art a land that is unclean, and not rained upon in the day of wrath.
    [Show full text]
  • Experience the Flemish Masters Programme 2018 - 2020
    EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • Lecture on TITIAN 2020
    Tuesday 3 March 2020 at 6.30 for 7 pm THE TRIUMPH OF PAINTING: TITIAN IN THE SERVICE OF PHILIP II a Lecture by PROF. CHARLES HOPE Accademia Italiana/Artstur at Ognisko, 55 Exhibition Road, SW7 2PN “Titian’s most loyal and effective patron was Philip II, for whom he worked for more than a quarter of a century, producing masterpieces such as the mythologies on display in the National Gallery. The pictures which he painted for the King changed the course of European painting.” - Charles Hope Following the recent announcement from the National Gallery of Art of their new exhibition TITIAN: LOVE DESIRE DEATH opening on Friday 13 March 2020 on Titian’s late Works, among which there will be the famous poesie painted by Titian in his later years for his Patron Philip II of Spain, we have arranged this lecture. Titian. Diana and Actaeon In the exhibition there will be three of the Poesie, belonging to the National Gallery: Diana and Actaeon, Diana and Callisto and the Death of Actaeon together with other paintings coming from all over the world. (All three illustrated here and in our website www.artstur.com) For this lecture we will have the honour of having Prof Charles Hope, former director of The WARBURG INSTITUTE. He is a specialist on the art of the Italian Renaissance, on which he has published extensively, including studies on Alberti, Mantegna, Giorgione, Vasari and especially Titian. He has been involved in the organisation of many exhibitions including The Genius of Venice 1500-1600 (Royal Academy, 1983) To book contact Accademia Italiana / Artstur Titian.
    [Show full text]
  • Non-Finito I Tjelesnost Slika: Početci I Odlike (Protu)Mimetičkog Pristupa
    Non-finito i tjelesnost slika: početci i odlike (protu)mimetičkog pristupa Zmijarević, Nikola Master's thesis / Diplomski rad 2021 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:156644 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-28 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za povijest umjetnosti Diplomski sveučilišni studij povijesti umjetnosti; smjer: konzervatorski i muzejsko-galerijski (jednopredmetni) Nikola Zmijarević Non-finito i tjelesnost slika: početci i odlike (protu)mimetičkog pristupa Diplomski rad Zadar, 2021. Sveučilište u Zadru Odjel za povijest umjetnosti Diplomski sveučilišni studij povijesti umjetnosti; smjer: konzervatorski i muzejsko-galerijski (jednopredmetni) Non-finito i tjelesnost slika: početci i odlike (protu)mimetičkog pristupa Diplomski rad Student/ica: Mentor/ica: Nikola Zmijarević izv. prof. dr. sc. Laris Borić Zadar, 2021. Izjava o akademskoj čestitosti Ja, Nikola Zmijarević, ovime izjavljujem da je moj diplomski rad pod naslovom Non- finito i tjelesnost slika: početci i odlike (protu)mimetičkog pristupa rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 5.
    [Show full text]
  • Core Knowledge Art History Syllabus
    Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.
    [Show full text]
  • Autumn 2012 Catalogue:1 20/4/12 10:28 Page 1
    Autumn 12 Cat. Cover multiple bags:1 16/4/12 12:19 Page 1 YaleBooks www.yalebooks.co.uk twitter.com/yalebooks yalebooks.wordpress.com Yale facebook.com/yalebooks autumn & winter 2012 Yale autumn & winter 2012 Autumn 2012 Cat. Inside Cover:1 20/4/12 10:23 Page 1 Yale sales representatives and overseas agents Great Britain Central Europe China, Hong Kong Scotland and the North Ewa Ledóchowicz & The Philippines Peter Hodgkiss PO Box 8 Ed Summerson 16 The Gardens 05-520 Konstancin-Jeziorna Asia Publishers Services Ltd Whitley Bay NE25 8BG Poland Units B & D Tel. 0191 281 7838 Tel. (+48) 22 754 17 64 17/F Gee Chang Hong Centre Mobile ’phone 07803 012 461 Fax. (+48) 22 756 45 72 65 Wong Chuk Hang Road e-mail: [email protected] Mobile ’phone (+48) 606 488 122 Aberdeen e-mail: [email protected] Hong Kong North West England, inc. Staffordshire Tel. (+852) 2553 9289/9280 Sally Sharp Australia, New Zealand, Fax. (+852) 2554 2912 53 Southway Fiji & Papua New Guinea e-mail: [email protected] Eldwick, Bingley Inbooks West Yorkshire BD16 3DT Locked Bag 535 Singapore, Thailand, Vietnam, Tel. 01274 511 536 Frenchs Forest Cambodia, Indonesia & Brunei Mobile ’phone 07803 008 218 NSW 2086 APD Singapore Ptd Ltd e-mail: [email protected] Australia 52 Genting Lane #06-05 Tel: (+61) 2 8988 5082 Ruby Land Complex 1 South Wales, South and South West Fax: (+61) 2 8988 5090 Singapore 349560 England, inc. South London e-mail: [email protected] Tel. (+65) 6749 3551 Josh Houston Fax.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6’ x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library.
    [Show full text]
  • Profiling Women in Sixteenth-Century Italian
    BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and
    [Show full text]
  • Artists in Thought from Classical Reception to Criticism As a Creative
    Fábio Waki S ’ ILDE W SCAR O ESTHETICS A RACTICE IN IN RACTICE P THICS AND THICS E REATIVE Fábio Waki C HOUGHT T HEORIES ON HEORIES T S ’ RTISTS IN RTISTS A AS RITICISM C A ARTISTS IN THOUGHT FROM CLASSICAL RECEPTION TO CRITICISM AS A CREATIVE OUCAULT F PRACTICE IN OSCAR WILDE’S AND MICHEL FOUCAULT’S ECEPTION TO ECEPTION THEORIES ON ETHICS AND AESTHETICS ICHEL ICHEL R M AND LASSICAL LASSICAL C ROM Tese no âmbito do Programa de Doutoramento em Materialidades da Literatura, F orientada pelo Professor Doutor Osvaldo Manuel Silvestre e apresentada ao Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra Fevereiro de 2021 Fábio Waki Artists in Thought: From Classical Reception to Criticism as a Creative Practice in Oscar Wilde’s and Michel Foucault’s Theories on Ethics and Aesthetics Tese de Doutoramento em Materialidades da Literatura orientada por Doutor Osvaldo Manuel Silvestre, apresentada ao Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra Fevereiro de 2021 Bolsa de Doutoramento FCT PD/BD/128081/2016 Artists in Thought: from Classical Reception to Criticism as a Creative Practice in Oscar Wilde’s and Michel Foucault’s Theories on Ethics and Aesthetics Reference: Waki, Fábio (2021). Artists in Thought: from Classical Reception to Criticism as a Creative Practice in Oscar Wilde’s and Michel Foucault’s Theories on Ethics and Aesthetics. PhD Thesis. Coimbra: University of Coimbra. Contact: [email protected] Abstract This study examines ‘classical reception’ in Oscar Wilde’s and Michel Foucault’s theories on ethics and aesthetics, particularly in Wilde’s conception of art-criticism and Foucault’s conception of critique, to suggest a form or perhaps a method of literary criticism more consistent with the post-hermeneutical framework of the Materialities of Literature.
    [Show full text]
  • PROVISIONAL PROGRAM HNA Conference 2022
    PROVISIONAL PROGRAM HNA Conference 2022 Amsterdam and The Hague, Netherlands HNA CONFERENCE 2022 Amsterdam and The Hague 2-4 June 2022 Program committee: Stijn Bussels, Leiden University (chair) Edwin Buijsen, Mauritshuis Suzanne Laemers, RKD – Netherlands Institute for Art History Judith Noorman, University of Amsterdam Gabri van Tussenbroek, University of Amsterdam | City of Amsterdam Abbie Vandivere, Mauritshuis and University of Amsterdam KEYNOTE LECTURES ClauDia Swan, Washington University A Taste for Piracy in the Dutch Republic 1 The global baroque world was a world of goods. Transoceanic trade routes compounded travel over land for commercial gain, and the distribution of wares took on global dimensions. Precious metals, spices, textiles, and, later, slaves were among the myriad commodities transported from west to east and in some cases back again. Taste followed trade—or so the story tends to be told. This lecture addresses the traffic in global goods in the Dutch world from a different perspective—piracy. “A Taste for Piracy in the Dutch Republic” will present and explore exemplary narratives of piracy and their impact and, more broadly, the contingencies of consumption and taste- making as the result of politically charged violence. Inspired by recent scholarship on ships, shipping, maritime pictures, and piracy this lecture offers a new lens onto the culture of piracy as well as the material goods obtained by piracy, and how their capture informed new patterns of consumption in the Dutch Republic. Jan Blanc, University of Geneva Dutch Seventeenth Century or Dutch Golden Age? Words, concepts and ideology Historians of seventeenth-century Dutch art have long been accustomed to studying not only works of art and artists, but also archives and textual sources.
    [Show full text]