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Radnor House, Continued] 'Doctors' Equals Any Paintings in Italy but Hindley Sells, 11
2198 INDEX [Radnor House, continued] 'Doctors' equals any paintings in Italy but Hindley sells, 11. 333n, 33. 105, 180, 183 those of, 23. 570 island belonging to, 11. 35m English painters still do not approach, 28. Murrays live at, 12. 58n 195-6 Potts lives in, after Hindley, 35. 365 'Ezekiel's Vision' by, at Boughton House, 10. Radnor leaves, to Hindley who sells it, 11. 34i 333n Faenza ware said to be designed by, 25. 5gin residents of, 42. 480 Feiibien and Du Fresnoy praise, 30. 325 Webb buys, 33. 183 female beauty inspired, 30. 325 Radnorshire, Wales: Gaven tries to sell alleged painting by, in Middleton, Mrs, born in, 15. 310 Poland, 35. 37n Radonvilliers. See Lysarde de Radonvilliers HW has not yet seen the paintings by, at Radstock, Bn. See Waldegrave, Granville George Rome, 13. 170 (1786-1857); Waldegrave, Hon. William HW is, in his 'portrait' of D. of Richmond, (1753-1825) 4. 304 Radstock, Bns. See Van Lennep, Cornelia Jacoba HW thinks, inadequate to illustrate Shake Radway Grange, Warwickshire: speare, 15. 206 Miller of, 9. i56n 'Holy Family' by, at Boughton House, 10. 341 Radziwill, Ps. See Lubomirska, Marja 'Last Supper' by, 2. i6g Radziwill, Prince Karol Stanislaw: Le Sueur's 'Vie de St-Bruno' surpasses, 35. 126 divorce of, 4. g3n Mabuse's painting perhaps influenced by, 15. Radziwill, Michael Kazimierz: g6n great general of Lithuania, 20. 44n 'Madonna della Sedia ['Seggiola']' by, copied Lascari governs family of, 20. 44n by Strange, 21. 448n, 470 Radziwill, Teofila Konstancia (1738-80), m. Mann thinks Flemish painters inferior to, 20. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Vienna Guide
April 22—24, 2015, Vienna, Austria Hotel Park Royal Palace Vienna Guide SIGHTSEEING Vienna is old, Vienna is new… and the sights are so varied: from the magnificent Baroque buildings to “golden” Art Nouveau to the latest architecture. And over 100 museums beckon… ALBERTINA The Albertina has the largest and most valuable graphical collection in the world, including works such as Dürer’s “Hare” and Klimt‘s studies of women. Its latest exhibition presents masterpieces of the Modern era, spanning from Monet to Picasso and Baselitz. As the largest Hapsburg residential palace, the Albertina dominates the southern tip of the Imperial Palace on one of the last remaining fortress walls in Vienna. ANKER CLOCK This clock (built 1911–14) was created by the painter and sculptor Franz von Matsch and is a typical Art Nouveau design. It forms a bridge between the two parts of the Anker Insurance Company building. In the course of 12 hours, 12 historical figures (or pairs of figures) move across the bridge. Every day at noon, the figures parade, each accompanied by music from its era. AUGARTEN PORCELAIN MANUFacTORY Founded in 1718, the Vienna Porcelain Manufactory is the second-oldest in Europe. Now as then, porcelain continues to be made and painted by hand. Each piece is thus unique. A tour of the manufactory in the former imperial pleasure palace at Augarten gives visitors an idea of how much love for detail goes into the making of each individual piece. The designs of Augarten have been created in cooperation with notable artists since the manufactory was established. -
Personajes Femeninos Y Canon
Personajes femeninos y Canon Edición: Andrea Santamaría Villarroya Personajes femeninos y canon © Edición de Andrea Santamaría Villarroya Asociación Cultural Benilde Mujeres&Culturas, Culturas&Mujeres Sevilla 2017 BENILDE EDICIONES http://www.benilde.org DISEÑO Eva María Moreno Lago Los textos seleccionados para este volumen han sido sometidos a evaluación externa por pares (peer review). ISBN 978-84-16390-56-4 IMAGEN DE PORTADA Adriana Assini www.adrianaassini.it Colección Estudios de Género y Feminismos, Número 8. Directora Antonella Cagnolati. Comité científico Bittar Marisa (Universidade Federal de São Carlos, Brasil), Borruso Francesca (Universidad de Roma 3), Bosna Vittoria (Universidad de Bari, Italia), Bubikova Sarka (Universidad de Pardubize, República Checa), Casale Rita (Universidad de Wuppertal, Alemania), Clavijo Martín Milagro (Universidad de Salamanca, España), Covato Carmela (Universidad de Roma 3), Dalakoura Katarina (Universidad de Creta, Grecia), De Freitas Ermel Tatiane (Pontificia Universidad Católica do Río Grande 1 do Sul, Brasil), Galli Stampino Maria (Universidad de Miami, Florida, EEUU), Giallongo Angela (Universidad de Urbino, Italia), González Gómez Sara (Universitat de les Illes Balears, España), Gramigna Anita (Universidad de Ferrara, Italia), Groves Tamar (Universidad de Extremadura, España), Hamel Thérèse (Université Laval, Canadá), Jaime de Pablo Elena (Universidad de Almería, España), Marín Conejo Sergio (Universidad de Sevilla), Motilla Xavier (Universitat de les Illes Balears, España), Musiani Elena -
III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C
III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e. -
EXHIBITION: the Temptations of James Ensor Works from 1888 to 1940
EXHIBITION: The temptations of James Ensor Works from 1888 to 1940 Samuel Vanhoegaerden Gallery is pleased to show at Brafa 2020 an extraordinary collection of works by James Ensor gathered for the first time James Ensor, Ballerines muées en marguerites, huile sur toile, 1936 James ENSOR, genius and founder of modern art James Ensor is one of Belgium's most important artists, belonging in the same list as Van Eyck, Rubens, Bruegel and Magritte. His works are of great rarity (he painted only around 850 works) and a large portion of them have already found a place in the world's largest museums. Ensor's importance cannot be overestimated. His name appears in all works on modern art and he was groundbreaking in his manner of painting. James Ensor paved the way for the emergence of Expressionism, Dada ism and Surrealism, among others, and even today, artists like Pierre Alechinsky and Luc Tuymans are indebted to his work. Over the years, the art market has increasingly realized just how decisive Ensor was for art history, and he is increasingly appreciated internationally. Already during his lifetime, and to this day, exhibitions of his works continue to be held in the worl d's most important museums (the latest including the MOMA, the Getty Museum and the Musée d'Orsay) and research into his work continues to expand. The market for his paintings and drawings is slowly drying up as these works find their way to museum collections, and with the few available paintings remaining family-owned. James Ensor's work is timeless and continues to amaze and delight every generation. -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. -
View Full Itinerary
Citizen Diplomat Excursion to Central Europe September 25-October 7, 2021 Implementation of this tour is contingent on the public health situation in the included countries, and the itinerary may be adjusted to accommodate public health requirements and recommendations. The final decision on whether the trip will take place will be made no later than July 15th, and we will refund 100% of trip deposits if WorldDenver decides to cancel due to local health conditions or travel restrictions. Join Karen de Bartolomé, WorldDenver’s Founding Executive Director, in exploring the heart of Central Europe, with stops in Hungary, Slovakia, and Austria for thirteen days! After flying into Budapest, travelers will cruise on the Danube River, ride a train to Bratislava, explore Vienna, experience a Slovakian winery, traverse the Slovakian countryside, and visit the mountains of Tatra National Park (sister park to Rocky Mountain NP). Along the way, you will have the chance to meet officials, learn about a millennium of history, engage in citizen diplomacy, and experience the sights, sounds, and tastes of the exceptionally rich culture of this region with fellow WorldDenver members and citizen diplomats. Itinerary at a Glance Saturday, Sept. 25 (Day 1) – Arrival in Budapest Sunday, Sept. 26 (Day 2) – Danube Bend tour Monday, Sept. 27 (Day 3) – Full-day Budapest city tour Tuesday, Sept. 28 (Day 4) – Transfer to Bratislava by train, free afternoon in Bratislava Wednesday, Sept. 29 (Day 5) – Half-day tour of Bratislava Thursday, Sept. 30 (Day 6) – Day-trip to Vienna Friday, Oct. 1 (Day 7) – Half-day wine tour outside Bratislava Saturday, Oct. -
RAFFAELLO SANZIO Una Mostra Impossibile
RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica. -
Donato Bramante 1 Donato Bramante
Donato Bramante 1 Donato Bramante Donato Bramante Donato Bramante Birth name Donato di Pascuccio d'Antonio Born 1444Fermignano, Italy Died 11 April 1514 (Aged about 70)Rome Nationality Italian Field Architecture, Painting Movement High Renaissance Works San Pietro in Montorio Christ at the column Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Urbino and Milan Bramante was born in Monte Asdrualdo (now Fermignano), under name Donato di Pascuccio d'Antonio, near Urbino: here, in 1467 Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other features that seemed to have the true ring of a reborn antiquity to Federico da Montefeltro's ducal palace. Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì and Piero della Francesca well, who were interested in the rules of perspective and illusionistic features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano. -
Star Polyhedra: from St Mark's Basilica in Venice To
STAR POLYHEDRA: FROM ST MARK’S BASILICA IN VENICE TO HUNGARIAN PROTESTANT CHURCHES Tibor TARNAI János KRÄHLING Sándor KABAI Full Professor Associate Professor Manager BUTE BUTE UNICONSTANT Co. Budapest, HUNGARY Budapest, HUNGARY Budapest, HUNGARY Summary Star polyhedra appear on some baroque churches in Rome to represent papal heraldic symbols, and on the top of protestant churches in Hungary to represent the Star of Bethlehem. These star polyhedra occur in many different shapes. In this paper, we will provide a morphological overview of these star polyhedra, and we will reconstruct them by using the program package Mathematica 6. Keywords : Star polyhedra; structural morphology; stellation; elevation; renaissance; baroque architecture; protestant churches; spire stars; Mathematica 6.0. 1. Introduction Star is an ancient symbol that was important already for the Egyptians. Its geometrical representation has been a planar star polygon or a polygramma. In reliefs, they have got certain spatial character, but still they remained 2-dimensional objects. Real 3-dimensional representations of stars are star polyhedra. They are obtained by extending the faces of convex polyhedra so that their planes intersect again [1]. This technique is called stellation . In a broader sense, those polyhedra are also called star polyhedra that are obtained by elevating the face centres of the polyhedra, which are, in this way, augmented by pyramids (the base of a pyramid is identical to the face of the polyhedron on which it stands). To our knowledge, star polyhedra do not occur in European culture until the Renaissance. The first example of a star polyhedron is a planar projection of a small stellated dodecahedron in the pavement mosaic of St Mark’s Basilica in Venice ( Fig. -
Raphael in Rome. Style, Technique, Conservation
Raphael in Rome. Style, technique, conservation The restoration of the frescoes carried out in the This publication is the result of the skilful work Vatican’s Stanza della Segnatura and Stanza di Eliodoro, undertaken by several specialists, within the Vatican and on the Madonna del Divino Amore in the Capodimonte outside. Museum in Naples, and on La Perla and Lo Spasimo in the Prado in Madrid, and the programme of technical The studies proposed at the 2014 conference are now investigations which has run alongside this work, has available for the many interested people who were made a substantial body of documentary material unable to attend the meeting or who wish to refresh available. New academic hypotheses formulated on the RRaphael in Rome their knowledge of what was said at the time. basis of these materials are here discussed by specialists in problems concerning Raphael and early sixteenth- SStyle, technique, conservation The editors of this work have been able to harmonize century Italian painting. contributions that present different aspects of Raphael, The fruits of the dialogue between art historians and the master of the Vatican Rooms, into a coherent text, restorers, the texts and the sensational photographic important for studies on Raphael. documentation that we present in this volume, allow us to look with new eyes and from a previously unexplored Barbara Jatta angle – but one which in some cases, as we have seen, boasts very early precedents – at the grand unfolding of stylistic development and inspired inventiveness in Raphael’s technical researches. Barbara Agosti and Silvia Ginzburg ISBN 978-88-8271-395-9 EDIZIONI MUSEI VATICANI € 59,00 Foreword Barbara Agosti, Silvia Ginzburg In the papers developed for this volume, restorers and art historians propose the results of conservation and research focused on works that represent some of the most significant stages in Raphael’s Roman period, beginning in 1508 and concluding with his death in 1520.