Reviewing the Builder's Yard As a Place for Design Visualization
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The Newsletter of the ITALIAN ART SOCIETY XXIV, 1 Winter 2012
The Newsletter of the ITALIAN ART SOCIETY XXIV, 1 Winter 2012 An Affiliated Society of the College Art Association, Society of Architectural Historians, and the Renaissance Society of America President’s Message from Kirstin Noreen also through the sponsorship of the Kress Foundation, on ―Kairo. On the Efficacy of a Classical Motif in Italian February 1, 2012 Medieval Art‖ at the International Congress on Medieval Studies in Kalamazoo in the IAS session dealing with Italian Dear Italian Art Society Members: Art and the Confluence of Cultures. Competition was particularly strong for funding, with numerous worthy It is with pleasure that I would like to announce the applicants for these grants. We encourage members to apply speaker of the third annual Italian Art Society-Kress for all of these opportunities in the future; details and Foundation Lecture Series in Italy, which this summer deadlines are posted on the IAS website. will take place in Venice. On June 6, 2012, Debra Pincus will speak on ―The Lure of the Letter: We are considering some changes in IAS procedures that we Renaissance Venice and the Recovery of Antique hope will allow greater access for more members to IAS Writing‖ at the Palazzo Cavalli-Franchetti, seat of the activities and positions. By the time of this newsletter, you Istituto Veneto di Scienze, Lettere ed Arti. More details will have received a link for a survey related to IAS grant will be circulated through the Notes of the Society and offerings and to the voting process for electing officers and posted on our website and Facebook page. -
Reflections & Undercurrents Exhibition Catalogue
Fairfield University DigitalCommons@Fairfield Reflections and Undercurrents: Ernest Roth and Reflections and Undercurrents - Ephemera Printmaking in Venice, 1900-1940 1-2014 Reflections & Undercurrents Exhibition Catalogue Jill J. Deupi Fairfield University Eric Denker National Gallery of Art Elizabeth Petrino Fairfield University Jo Yarrington Fairfield University Follow this and additional works at: https://digitalcommons.fairfield.edu/roth-ephemera Recommended Citation Deupi, Jill J.; Denker, Eric; Petrino, Elizabeth; and Yarrington, Jo, "Reflections & Undercurrents Exhibition Catalogue" (2014). Reflections and Undercurrents - Ephemera. 7. https://digitalcommons.fairfield.edu/roth-ephemera/7 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. In the Wake of the Butterfly JAMES MCNEILL WHISTLER AND HIS CIRCLE IN VENICE Bellarmine Museum of Art, Fairfield University 8 January 23 – April 4, 2014 8 Reflections & Undercurrents ERNEST ROTH AND PRINTMAKING IN VENICE, 1900-1940 Thomas J. Walsh Art Gallery, Fairfield University Reflections & Undercurrents is a touring exhibition organized by The Trout Gallery, Dickinson College, Carlisle, PA rnest David Roth. Emanuele Brugnoli. Fabio Mauroner. Louis Conrad Rosenberg. -
Immunity from Seizure
THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Artemisia 04 Apr 2020 - 26 Jul 2020 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Artemisia 04 Apr 2020 - 26 Jul 2020 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Artemisia. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Artemisia 04 Apr 2020 - 26 Jul 2020 Protection under the Act is sought for the objects listed below: Artemisia Gentileschi (1593 - 1654 or later) © Photo courtesy of the owner X10792 Solinas 2011, Letter 3, Artemisia to Francesco Maria Maringhi. Florence,1618-19 1618-1619 Place of manufacture: Italy Ink on paper Object dimensions: 28.5 × 21 cm (41.5cm open) Private Collection Florence Lender's name and address Private Collection Florence Italy Accession Number ASF nr 3 Provenance: In the possession of Francesco Maria Maringhi (1593-1653); By whom left in Florence after his move to Naples in 1648, as part of the Frescobaldi family papers (now the Archivio Storico Frescobaldi e Albizzi di Firenze). -
Andrea Palladio's Influence on Venetian
ANDREA PALLADIO'S INFLUENCE ON VENETIAN CHURCH DESIGN: 1581 - 1751 By RICHARD JAMES GREEN B.A. (Honours), The University of Saskatchewan, 1975 B. Arch., The University of British Columbia, 1980 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE in THE FACULTY OF GRADUATE STUDIES (School of Architecture) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1987 ©Richard James Green, 1987 k In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of dst^/~j£e^&<^K. The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date Q^t>-C-c^ /S( /9gft- . DE-6G/81) ABSTRACT Andrea Palladia was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forth-four surviving palaces, villas, and churches by the master. These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. -
Lowell Libson Ltd Lowell Libson
LOWELL LIBSON LTD BRITISH WATERCOLOURS AUTUMN 2014 British Watercolours 11–21 November 2014 LOWELL LIBSON LTD 3 Clifford Street · Londonw1s 2lf Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 Email: [email protected] Website: www.lowell-libson.com British Watercolours 2014 Index of Artists References are to page, not catalogue, numbers All the works in the catalogue are for sale George Barret 16 John Linnell 71–74 and are sold mounted and framed. Charles Richard Bone 76 John Martin 80, 81 All works will be for sale prior to the opening of the exhibition. William Callow 88, 89 James Miller 10 John Sell Cotman 58 Jacob Moore 14 During this exhibition our opening times David Cox 64 Algernon Cecil Newton 92 will be: Monday to Friday 10am–5pm; Joshua Cristall 56, 57 Saturday 15 November 10am–4pm William Payne 34 Nathaniel Dance 46 Nicholas Pocock 36 Edward Dayes 27, 28 Please contact us for further details. Samuel Prout 68 Heneage Finch 60 Lowell Libson Reeves & Inwood 48 [email protected] Albert Goodwin 90 George Fennel Robson 66 Jonny Yarker Sir George Hayter 62 [email protected] Thomas Rowlandson 38–42 Thomas Hearne 31, 32 Deborah Greenhalgh Paul Sandby 30 Robert Hills 54 [email protected] James Holland 87 John ‘Warwick’ Smith 22–26 John Hoppner 44 Thomas Sunderland 18, 20 William Henry Hunt 70, 78 Cornelius Varley 50, 52 Edward Lear 84, 86 James Ward 82 LOWELL LIBSON LTD John Frederick Lewis 77 Francis Wheatley 12 3 Clifford Street · Londonw1s 2lf Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 Email: [email protected] Website: www.lowell-libson.com Collecting British Watercolours Whilst it is acknowledged that one of the (who were later to become delightful friends greatest contributions that the British have to me). -
UNITED STATES NATIONAL MUSEUM Bulletin 70
THE NATIONAL GALLERY OF ART SMITHSONIAN INSTITUTION UNITED STATES NATIONAL MUSEUM Bulletin 70 THE NATIONAL GALLERY OF ART DEPARTMENT OF FINE ARTS OF THE NATIONAL MUSEUM By RICHARD RATHBUN Assistant Secretary of the Smithsonian Institution, in Charge of the United States National Museum WASHINGTON GOVERNMENT PRINTING OFFICE 1909 BULLETIN OF THE UNITED STATES NATIONAL MUSEUM JULY 1, 1909 CONTENTS Page Introduction 9 The National Institute, 1840-1862 25 Annotated list of art objects in the museum of the National Institute 31 The Smithsonian Institution and U. S. National Museum 45 Organization, plans, and building 45 Narrative history of the art collections under the Smithsonian Institution 51 The National Gallery of Art 87 The Harriet Lane Johnston collection 88 The Charles L. Freer collection 102 The William T. Evans collection 115 Permanent acquisitions from other sources 133 Loans and deposits 136 5 ILLUSTRATIONS Facing page. buUding, 1906, before A corner of the picture gallery in the Museum showing a part of the Harnet Lane it had been entirely remodeled, Johnston collection 32 George P. A. Healy. F. P. G. Guizot, 1841 34 George P. A. Healy. President John Tyler Painted for the National Institute. 1842. 48 Original floor plans, Smithsonian building were those ongmally The two rooms on the first floor marked C of the second floor was designed for the gallery of art. The western end from 1858 to 1865. Repro- used for the collection of Indian paintings among other illus- duced from "Hints on PubUc Architecture, containing, Institution; together with trations, views and plans of the Smithsonian Prepared, on behalf of the an appendix relative to building materials. -
This Was Venice, the Flattering and Suspect Beauty
1 2 3 Credits Chris Handley Acknowledgements The World of Darkness, Changeling: the Lost, Vampire: the Requiem, Werewolf: the Forsaken, Mage: the Awakening and White Wolf are all trademarks of CCP North America. This book is a fan written project that makes no claim to the intellectual property of the trademarks above. All work within this ebook are the work and views of the writer, inspired by the trademarks above, and in no way should be thought of as accurate, credible or real. The supernatural elements of this book are fictional and intended for the purpose of entertainment. Within the book are mature themes. Reader discretion is advised. 4 Table of Contents Prologue: Acqua Alta Introduction Chapter One: The Fairy City Chapter Two: Behind the Mask Chapter Three: The Carnival Chapter Four: The Red Priest 5 Introduction Broken Masks, Splintered Dreams Venice, La Serenissima, a city of lust, greedy, mystery, magic and dreams. It is the fairy city of man sat up ever rising waters. Venice sits at the gateway of the classical and medieval world, ancient nexus now nothing more than a city sized, water logged, museum of the renaissance. However, Venice may no longer be a centre of the mortal world, but it has remained the centre of the world for those that live behind the shadows. Venice has a dynamic, colourful and sordid history since the fall of the Roman Empire and has always been influenced by those other beings that take an interest in human affairs. One particular group is the Lost. Just as the original founders of the city fled the invading Huns, so did the Lost flee from the captivity of Keepers. -
University of Warwick Institutional Repository
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/2838 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Images of Moses and Sixteenth-Century Venice Volume 1 of 2 by Amy Marie Zucca A thesis submitted in partial fulfillment of the requirements for the degreeof Doctor of Philosophy in History of Art University of Warwick, Department of History of Art October 2002 Volume 2 restricted access TABLE OF CONTENTS Volume I List ofIllustrations iv Acknowledgments XXIV Declaration XXV Abstract Xxvi Abbreviations Xxvii INTRODUCTION I 1. THE BACKGROUND TO MOSES IN VENICE 8 2. THE POLITICAL MODEL: EAAGES OF MOSES IN VENICE AND ON 28 THE ITALIAN PENINSULA 3. THE EARLY DEVELOPMENT OF IMAGES OF MOSES IN 85 SIXTEENTH-CENTURY VENICE AND THE VENETO 4. THE MAIN CHAPEL OF THE MADONNA DELL'ORTO 114 5. THE MOSES CYCLE AT THE SCUOLA GRANDE DI SAN ROCCO 160 6. PRINTED BOOK ILLUSTRATION AND THE SAN GIORGIO 201 MAGGIORE MIRACLE OF MANNA 7. CONCLUSION: TINTORETTO'S LEGACY AND VERONESE'S 236 ALTERNATIVE Appendix 253 Bibliography 265 - 11 Volume 2 Illustrations 111 LIST OF ILLUSTRATIONS Dimensions are given wherever possible. 1. West fagade, San Moise, Venice. 2. West fagade, San Francescodella Vigna, Venice. 3. Zen Chapel, San Marco, Venice. -
Italian Paintings of the Sixteenth Century
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Italian Paintings of the Sixteenth Century Published March 21, 2019 Generated March 21, 2019 To cite: Robert Echols, Peter Humfrey, Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/catalogue/italian-paintings-of-the-sixteenth-century/2019-03-21 (accessed March 21, 2019). Italian Paintings of the Sixteenth Century © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century CONTENTS 01 Caletti, Giuseppe 02 Portrait of a Man as Saint George 17 Caliari, Benedetto 18 Saint Jerome in the Wilderness 25 Caliari, Gabriele 26 Saint Lucy and a Donor 35 Pace, Gian Paolo 36 Alessandro Alberti with a Page 45 Emilia di Spilimbergo 58 Irene di Spilimbergo 71 Sustris, Lambert 72 Christ at the Sea of Galilee 90 Tintoretto, Domenico 91 Susanna 99 Tintoretto, Jacopo 104 Andrea Renier and His Son Daniele 110 The Conversion of Saint Paul 126 Doge Alvise Mocenigo and Family before the Madonna and Child 141 The Madonna of the Stars 150 Portrait of a Man with a Landscape View 160 A Procurator of Saint Mark's 170 Summer 185 The Worship of the Golden Calf 194 Circle of Tintoretto Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century 195 Christ at the Sea of Galilee 213 Lamentation 220 Titian 224 Allegory of Love 237 Andrea de' Franceschi -
Picturing Carnal Temptation and Sin in Italian Post-Tridentine Imagery
Minna Hamrin Picturing Carnal Temptation and Sin in Italian Post-Tridentine Imagery | 2018 and Sin in Italian Post-Tridentine Temptation Minna Hamrin Carnal | Picturing Imagery Images of male saints defending their chastity Minna Hamrin against transgressive women were increasingly produced in post-Tridentine Italy – a period when Catholic dogma, through Church reform, emp- Picturing Carnal Temptation and Sin hasised the superiority of the virginal state and the danger of carnal desire. The images show the in Italian Post-Tridentine Imagery female gender as an immediate danger to the patriarchal order, eager to corrupt innocent, pious men by inducing them to engage in the sin of fornication. In this thesis, temptation scenes from the lives of various male saints are studied. The material consists of paintings, drawings, engravings and sculptures, all produced in Italy during the ‘long seventeenth century’. 9 789517 659130 Åbo Akademi University Press | ISBN 978-951-765-913-0 Minna Hamrin (born1983) - Masters degree in Art history, 2009, Åbo Akademi University Cover image: Giacomo Franco, St Francis’ Exemplary Chastity (detail), 1593. Orig. photo: Istituto Storico Cappuccini, Museo Francescano, Rome Åbo Akademi University Press Tavastgatan 13, FI-20500 Åbo, Finland Tel. +358 (0)2 215 4793 E-mail: [email protected] Sales and distribution: Åbo Akademi University Library Domkyrkogatan 2–4, FI-20500 Åbo, Finland Tel. +358 (0)2 -215 4190 E-mail: [email protected] PICTURING CARNAL TEMPTATION AND SIN IN ITALIAN POST-TRIDENTINE IMAGERY Picturing Carnal Temptation and Sin in Italian Post-Tridentine Imagery Minna Hamrin Åbo Akademis förlag | Åbo Akademi University Press CIP Cataloguing in Publication Hamrin, Minna.