April 2007 Newsletter
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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Eighteenth-Century English and French Landscape Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. -
Full Press Release
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen. -
Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’. -
Instructions and Techniques *
UvA-DARE (Digital Academic Repository) Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data van Eikema Hommes, M.H. Publication date 2002 Link to publication Citation for published version (APA): van Eikema Hommes, M. H. (2002). Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Verdigriss Glazes in Historical Oil Paintings: Instructions and Techniques * 'Lje'Lje verdegris distillépourglacer ne meurt point? Dee Mayerne (1620-46), BL MS Sloane 2052 'Vert'Vert de gris... ne dure pas & elk devient noire.' Dee la Hire, 1709 InterpretationInterpretation of green glares Greenn glazes were commonly used in oil paintings of the 15th to 17th centuries for the depiction of saturated greenn colours of drapery and foliage. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before
PAUL BRIL (Antwerp c. 1554 – 1626 Rome) A Landscape with a Hunting Party and Roman Ruins On canvas, 27¾ x 38 ¾ ins. (70.5 x 98.4 cm) Provenance: The Duke of Sutherland, Dunrobin Castle, by 1921 By whom sold, Christie’s, London, 29 November 1957, lot 31 Where purchased by Thos. Agnew & Sons, London Denys Sutton (1917-1991), London Thence by descent to the previous owner Exhibited: Thos. Agnew & Sons Ltd., London, 1958 Ideal & Classical Landscape, National Museum of Wales, Cardiff, 6 February – 3 April 1960, cat. no. 18 L’Ideale classico del Seicento in Italia e la pittura di paesaggio, Bologna, 8 September – 11 November, 1962, cat. no. 124 Literature: The Duke of Sutherland, Dunrobin Castle Catalogue, 1921, no. 253 Art News, April 1958, vol. 57, no. 2, p. 4 (reproduced) F. Cappelletti, Paul Bril, et la pittura di paesaggio a Roma 1580- 1630, Rome, 2005, p. 304, cat. no. 166 (reproduced) Note: We are grateful to Drs. Luuk Pijl for confirming the attribution to Bril, based on photographs. Drs. Pijl dates the work to between 1617-1620 and will include it in his forthcoming catalogue raisonné of Paul Bril’s paintings. VP4601 Paul Bril trained in Antwerp before making his way to Italy sometime before 1582. In Rome, he joined his older brother Matthijs (c. 1550-83), who was already established in the employment of Pope Gregory XIII, producing fresco decorations for the Vatican. Initially, Paul assisted his brother, but after Matthijs’s premature death in 1583, he assumed responsibility for the papal commissions both in the Vatican and in various churches and villas in and around Rome. -
Hans Memling's Scenes from the Advent and Triumph of Christ And
Volume 5, Issue 1 (Winter 2013) Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation Sally Whitman Coleman Recommended Citation: Sally Whitman Coleman, “Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation,” JHNA 5:1 (Winter 2013), DOI: 10.5092/jhna.2013.5.1.1 Available at https://jhna.org/articles/hans-memlings-scenes-from-the-advent-and-triumph-of- christ-discourse-of-revelation/ 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 5:1 (Winter 2013) 1 HANS MEMLING’S SCENES FROM THE ADVENT AND TRIUMPH OF CHRIST AND THE DISCOURSE OF REVELATION Sally Whitman Coleman Hans Memling’s Scenes from the Advent and Triumph of Christ (ca. 1480, Alte Pinakothek, Munich) has one of the most complex narrative structures found in painting from the fifteenth century. It is also one of the earliest panoramic landscape paintings in existence. This Simultanbild has perplexed art historians for many years. The key to understanding Memling’s narrative structure is a consideration of the audience that experienced the painting four different times over the course of a year while participating in the major Church festivals. -
Great Vespers on March 24 the Annunciation to the Annunciation To
Great Vespers on March 242424 The Annunciation to the MostMost----HolyHoly Theotokos Priest: Blessed is our God, always, now and ever, and unto ages of ages. Choir: Amen. Come, let us worship and fall down before God our King. Come, let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down before Christ Himself, our King and our God. THE PSALM OF INTRODUCTION—PSALM 103 Reader: Bless the Lord, O my soul; O Lord my God, Thou hast been magnified exceedingly. Confession and majesty hast Thou put on, Who coverest Thyself with light as with a garment, Who stretchest out the heaven as it were a curtain; Who supporteth His chambers in the waters, Who appointeth the clouds for His ascent, Who walketh upon the wings of the winds, Who maketh His angels spirits, and His ministers a flame of fire. Who establisheth the earth in the sureness thereof; it shall not be turned back forever and ever. The abyss like a garment is His mantle; upon the mountains shall the waters stand. At Thy rebuke they will flee, at the voice of Thy thunder shall they be afraid. The mountains rise up and the plains sink down, unto the place where Thou hast established them. Thou appointedst a bound that they shall not pass, neither return to cover the earth. He sendeth forth springs in the valleys; between the mountains will the waters run. They shall give drink to all the beasts of the field; the wild asses will wait to quench their thirst. -
Remembering Rembrandt
For Immediate Release 13 February 2006 Contact: Hannah Schmidt 020.7389.2964 [email protected] Remembering Rembrandt ... CHRISTIE’S CELEBRATES REMBRANDT’S 400TH ANNIVERSARY Old Master, Modern and Contemporary Prints Wednesday, 29 March 2006 Christie’s London London – On July 15, 1606, one of the world’s most versatile, innovative, and influential artists Rembrandt Harmensz van Rijn (1606-1669) was born in Leiden. Four hundred years later, Christie’s joins the celebrations of the anniversary of the master’s birth. An important group of fifty-five etchings by the artist from the collection of Dutch industrialist and patron, G.A.H. Buisman Jzn. will be offered alongside the 29 March sale of Old Master, Modern and Contemporary Prints in London. “This superb private collection lends a fascinating insight into the technique and mastery of the artist’s graphic oeuvre and with estimates starting at just £1,500 offers an excellent opportunity to collect an original by this famous artist in his 400th anniversary year,” said Richard Lloyd, Head of Christie’s Print Department. Rembrandt was a multi-talented artist, acquiring international fame not only as painter and draughtsman but also for his graphic works. He explored different forms, styles and subjects throughout his artistic life, with his first etching dating to circa 1626 and his last from 1665. The strength of his reputation as one of the most important graphic artists remains to this day. The collection to be sold at Christie’s reflects the broad range of subjects that Rembrandt addressed from portraits, and self-portraits, to landscapes, allegorical scenes, mythological and biblical stories as well as animal studies. -
Jheronimus Bosch-His Sources
In the concluding review of his 1987 monograph on Jheronimus Bosch, Roger Marijnissen wrote: ‘In essays and studies on Bosch, too little attention has been paid to the people who Jheronimus Bosch: his Patrons and actually ordered paintings from him’. 1 And in L’ABCdaire de Jérôme Bosch , a French book published in 2001, the same author warned: ‘Ignoring the original destination and function his Public of a painting, one is bound to lose the right path. The function remains a basic element, and What we know and would like to know even the starting point of all research. In Bosch’s day, it was the main reason for a painting to exist’. 2 The third International Bosch Conference focuses precisely on this aspect, as we can read from the official announcement (’s-Hertogenbosch, September 2012): ‘New information Eric De Bruyn about the patrons of Bosch is of extraordinary importance, since such data will allow for a much better understanding of the original function of these paintings’. Gathering further information about the initial reception of Bosch’s works is indeed one of the urgent desiderata of Bosch research for the years to come. The objective of this introductory paper is to offer a state of affairs (up to September 2012) concerning the research on Bosch’s patronage and on the original function of his paintings. I will focus on those things that can be considered proven facts but I will also briefly mention what seem to be the most interesting hypotheses and signal a number of desiderata for future research. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
The Dispersal and Formation of Sir Thomas Lawrence's Collection
Cambridge University Press 978-0-521-55133-5 - The Drawings of Michelangelo and his Followers in the Ashmolean Museum Paul Joannides Excerpt More information the dispersal and formation of sir thomas lawrence’s collection of drawings by michelangelo i. the dispersal from Michelangelo apart – in its essentials has not changed since 1846, although one sheet of drawings hitherto In 1846 the University of Oxford acquired, through the placed in the Raphael school is here included as a copy generosity of a number of benefactors but supremely that after Michelangelo – an identification, indeed, made in of Lord Eldon, a large number of drawings by, attributed 1830 but subsequently overlooked.5 to, or associated with Michelangelo and Raphael. Put The two series that came to Oxford were the remains on display in the University Galleries were fifty-three of two much larger series of drawings, both owned by mountings of drawings associated with Michelangelo, and the man who has clear claim to be the greatest of all 137 by Raphael.1 Some of these mountings comprised English collectors of Old Master Drawings: Sir Thomas two or more drawings and the overall total of individual Lawrence. It is Lawrence’s collection that provided all drawings was somewhat larger.2 This exhibition and – the drawings by, and most of those after, Michelangelo consequently – its catalogue included most, but not the now in the Ashmolean Museum. Lawrence, himself a totality, of the drawings by these artists offered for sale fine draughtsman, whose precision and skill in this area