S$1 BILLION FINE ART COLLECTION on DISPLAY for the FIRST TIME in ASIA Pièce De Résistance by Botticelli, Monet, Modigliani, Picasso and Rembrandt, Among Others
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The Astronomical Garden of Venus and Mars-NG915: the Pivotal Role Of
The astronomical garden of Venus and Mars - NG915 : the pivotal role of Astronomy in dating and deciphering Botticelli’s masterpiece Mariateresa Crosta Istituto Nazionale di Astrofisica (INAF- OATo), Via Osservatorio 20, Pino Torinese -10025, TO, Italy e-mail: [email protected] Abstract This essay demonstrates the key role of Astronomy in the Botticelli Venus and Mars-NG915 painting, to date only very partially understood. Worthwhile coin- cidences among the principles of the Ficinian philosophy, the historical characters involved and the compositional elements of the painting, show how the astronomi- cal knowledge of that time strongly influenced this masterpiece. First, Astronomy provides its precise dating since the artist used the astronomical ephemerides of his time, albeit preserving a mythological meaning, and a clue for Botticelli’s signature. Second, it allows the correlation among Botticelli’s creative intention, the historical facts and the astronomical phenomena such as the heliacal rising of the planet Venus in conjunction with the Aquarius constellation dating back to the earliest represen- tations of Venus in Mesopotamian culture. This work not only bears a significant value for the history of science and art, but, in the current era of three-dimensional mapping of billion stars about to be delivered by Gaia, states the role of astro- nomical heritage in Western culture. Finally, following the same method, a precise astronomical dating for the famous Primavera painting is suggested. Keywords: History of Astronomy, Science and Philosophy, Renaissance Art, Educa- tion. Introduction Since its acquisition by London’s National Gallery on June 1874, the painting Venus and Mars by Botticelli, cataloged as NG915, has remained a mystery to be interpreted [1]1. -
The Esotericism in Sandro Botticelli's La Primavera
THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. ABSTRACT: This article proposes an iconographic and especially iconological interpretation about the picture La Primavera (Allegory of Spring) by Sandro Botticelli. This fresh interpretation has a strong esoteric component, characteristic of the period when it was created, which has remained largely unnoticed. But the author of this research maintains that in order to fully understand this picture, it is needed to penetrate the Italian Renaissance Mentality. KEYWORDS: Marsilio Ficino – Lorenzo of Pierfrancesco of Medici – Lorenzo The Magnificent – Simonetta Vespucci – Semiramide Appiani. RESUMEN: Se propone aquí, en el presente artículo, una interpretación iconográfica y sobre todo iconológica totalmente nueva y definitiva sobre el cuadro La Primavera de Sandro Botticelli. Esta novedosa interpretación tiene un fuerte componente esotérico, propio de la época en la cual se realizó esta obra de arte, que, muchas veces, ha pasado totalmente desapercibido. Pero la autora de esta investigación, insiste, en que hay que penetrar en la mentalidad del Renacimiento Italiano y sus escritos para comprender la totalidad de dicho cuadro. THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. [email protected] Botticelli: La Primavera. Florence, ©Uffizi. (fig. 1) PREFACE: This essay begins with a short review of what has been written until now about Botticelli’s La Primavera. Later, the main part of the essay is presented. The purpose of this research is not to compile what has been said before, but to bring new information 2 that can help to envisage the iconographic, and above all, iconological interpretation of this artwork. -
When a Work of Art Is Whole
UNIVERSITY OF COPENHAGEN HUMANITIES FACULTY DEPARTMENT FOR ART HISTORY Nomeda Repsyte When a Work of Art is Whole An Attempt to Introduce the Early Philosophical Essays (1919-24) of 0LFKDLO0LFKDLORYLþ%DFKWLQ (1895-1975) into the Discipline of Art History through their Analysis and Actual Application for an Interpretation of the Self-Portraits (c. 1917-8) by Chaim Soutine (1893–1943) thesis for a cand. phil. degree in art history Supervisor: dr. Nicoletta Isar September 2004 “There is no point in philosophizing," declared the Unknown Poet evasively. "Both of us - you through literature, I through art - have experienced every kind of death. Therefore, death can never really surprise us. Spiritually speaking, a man of culture inhabits not one but many countries. He lives not in one epoch but in many. He can elect any form of death and does not grieve when death at last catches up with him. Overcome by ennui, he pronounces: 'So, we meet again!' It all seems so ridiculous to him. Konstantin Vaginov. Kozlinaja pesn’. 1928. 2 TABLE OF CONTENTS ABBREVIATIONS 4 LIST OF ILLUSTRATIONS AND THEIR SOURCES 5 1. INTRODUCTION 9 2. THE RAVE AROUND THE RUSSIAN 13 The Bachtin Industry and the Belated Newcomer 3. THE SEQUENCE PROBLEM 23 Mismatching the Interpretative with the Historical 4. THE TRI-PARTITE ANALYSIS OF A WORK OF ART 33 Towards Systematic Studying of Works of Art 5. “THE PAINTINGS OF MERIT” 68 The Unstable Self-Portraits 6. CONCLUSION 81 RÉSUMÉ PÅ DANSK 87 ILLUSTRATIONS 89 APENDICES 104 1. M. M. Bachtin and Ch. Soutine: Biographical Data 2. Publications of the Early Texts in Russian and their Translations 3. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: [No Value], Louise Elizabeth Hughes Title: Chaim Soutine (1893-1943) Receptions, constructions and significance General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Chaim Soutine (1893-1943): Receptions, Constructions and Significance Louise Elizabeth Hughes A dissertation submitted to the University of Bristol in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts. -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. -
Bijoux Tableaux Et Dessins Anciens Mobilier Objets D'art
Bijoux Tableaux et Dessins Anciens Mobilier Objets d’Art MERCREDI 9 DÉCEMBRE 2015 PIASA Département Bijoux Contact presse PIASA Dora Blary Isabelle de Puysegur +33 1 53 34 13 30 Tél. : +33 1 53 34 10 10 [email protected] [email protected] Département Cécile Demtchenko Woringer Tableaux et Dessins Anciens Tél. : +33 1 53 34 12 95 Alix de Saint-Hilaire [email protected] +33 1 53 34 10 15 [email protected] Département Mobilier et Objets d’Art Pascale Lutz +33 1 53 34 10 19 [email protected] Département Céramiques anciennes Bijoux Marie-Amelie Pignal de Préville +33 1 53 34 10 12 [email protected] Tableaux Département Sculpture Maylis Gazave +33 1 53 34 10 10 [email protected] Dessins et Anciens Anciens Mobilier Mobilier Objets d’Art GARANTIES Attribué à : signifie que l’œuvre ou l’objet a Conformément à la loi, les indications portées été exécuté pendant la période de production au catalogue engagent la responsabilité de la de l’artiste mentionné et que des présomptions société de ventes, sous réserve des rectifications sérieuses désignent celui-ci comme l’auteur éventuelles annoncées au moment de la vraisemblable. présentation de l’objet et portées au procès Entourage de : le dessin est l’œuvre d’un artiste verbal de la vente. Une exposition préalable contemporain de l’artiste mentionné qui s’est permet aux acquéreurs de se rendre compte de montré très influencé par l’œuvre de ce maître. l’état des biens mis en vente. Il ne sera admis Atelier de : sortie de l’atelier de l’artiste mais aucune réclamation une fois l’adjudication réalisée par des élèves sous sa direction. -
Hessisches Landesmuseum, Darmstadt
Botticelli Reimagined V&A Museum, 5 March – 3 July 2016 Lender Reference number: Hessisches Landesmuseum, Darmstadt (8767) Title: Birth of Venus Date of creation: 1868-9 Place of creation: Basel, Switzerland Artist/ Designer: Arnold Böcklin (1827-1901) Dimensions: 1355 x 790 mm Nationality of Artist: Swiss Materials/ medium: Oil on canvas Brief physical description (including identifying marks and inscriptions): Female figure, representing Venus, emerges from the foam of the sea. A veil held by two putti is gathered in the hand of the female figure to cover her from the waist down. Lender (name and address): Hessisches Landesmuseum Darmstadt Friedenspl. 1 64283 Darmstadt Germany Provenance: 1898 Maximilian Freiherr von Heyl, in Darmstadt; various owners; Sigmund Buchenau, Niendorf/Lubeck; 1938 Karl Haberstock, Berlin; ‘Führermuseum’, Linz; acquired by The Federal Republic of Germany; since 1968 on permanent loan to Hessisches Landesmuseum in Darmstadt Ownership between 1933-1945: Collection of Sigmund Buchenau; from 1938 in the collection of Karl Haberstock; the ‘Führermuseum’, Linz Art Gallery Object registered on Art Loss Register?: Not checked Image of Object: Lender Reference number: Hessisches Landesmuseum, Darmstadt (AE.1285) Title: The Devout Jews at Pentecost Date of creation: 1500s Place of creation: Italy Artist/ Designer: Sandro Botticelli (c.1445-1510) Dimensions: 231 x 365 mm Nationality of Artist: Italian (Florentine) Materials/ medium: Black chalk, pen and brown ink, brown wash with white gouache, on paper Brief physical description (including identifying marks and inscriptions): This drawing depicts eight figures (seven above and one below) gathered around a central door. It is believed to record the missing lower half of a painting titled Pentecost now in the collection of the Birmingham Museums Trust. -
Culture and Politics in Literary Representations of Simonetta
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository ‘ALMA DIVA LEGGIADRA SIMONETTA’: CULTURE AND POLITICS IN LITERARY REPRESENTATIONS OF SIMONETTA CATTANEO VESPUCCI by JUDITH RACHEL ALLAN A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Italian Studies College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines literary representations of the noblewoman Simonetta Cattaneo Vespucci (c. 1453- 1476) written in the Florentine vernacular in the mid- 1470s and 1480s. Composed during the reign of Lorenzo de’ Medici, de facto ruler of Florence from 1469- 1492, these portrayals of Simonetta, in Angelo Poliziano’s Stanze, Lorenzo’s Comento de’ miei sonetti, and works by Bernardo Pulci, Luigi Pulci, Girolamo Benivieni and an anonymous poet, respond to the city’s interest in both its vernacular and classical roots, and its changing political landscape. In my thesis I argue that Simonetta is the means through which a new ideal of femininity is created that reflects these developments and becomes symbolic of them, combining the beauty and virtue of the female figures of Stilnovistic and Petrarchan poetry with attributes inspired by ancient literature, philosophy and mythology. -
Art Teacher's Book of Lists
JOSSEY-BASS TEACHER Jossey-Bass Teacher provides educators with practical knowledge and tools to create a positive and lifelong impact on student learning. We offer classroom-tested and research-based teaching resources for a variety of grade levels and subject areas. Whether you are an aspiring, new, or veteran teacher, we want to help you make every teaching day your best. From ready-to-use classroom activities to the latest teaching framework, our value-packed books provide insightful, practical, and comprehensive materials on the topics that matter most to K–12 teachers. We hope to become your trusted source for the best ideas from the most experienced and respected experts in the field. TITLES IN THE JOSSEY-BASS EDUCATION BOOK OF LISTS SERIES THE SCHOOL COUNSELOR’S BOOK OF LISTS, SECOND EDITION Dorothy J. Blum and Tamara E. Davis • ISBN 978-0-4704-5065-9 THE READING TEACHER’S BOOK OF LISTS, FIFTH EDITION Edward B. Fry and Jacqueline E. Kress • ISBN 978-0-7879-8257-7 THE ESL/ELL TEACHER’S BOOK OF LISTS, SECOND EDITION Jacqueline E. Kress • ISBN 978-0-4702-2267-6 THE MATH TEACHER’S BOOK OF LISTS, SECOND EDITION Judith A. Muschla and Gary Robert Muschla • ISBN 978-0-7879-7398-8 THE ADHD BOOK OF LISTS Sandra Rief • ISBN 978-0-7879-6591-4 THE ART TEACHER’S BOOK OF LISTS, FIRST EDITION Helen D. Hume • ISBN 978-0-7879-7424-4 THE CHILDREN’S LITERATURE LOVER’S BOOK OF LISTS Joanna Sullivan • ISBN 978-0-7879-6595-2 THE SOCIAL STUDIES TEACHER’S BOOK OF LISTS, SECOND EDITION Ronald L. -
The Evolution of the Medici Portrait: from Business to Politics
THE EVOLUTION OF THE MEDICI PORTRAIT: FROM BUSINESS TO POLITICS A Thesis Submitted to the Office of Graduate Studies College of Arts and Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Mark J. Danford Spring, 2013 This thesis of Mark Danford is hereby accepted ________________________________________ ____________________ Reader – Dr. Edward Olszewski Date ________________________________________ ____________________ Reader – Dr. Brenda Wirkus Date ________________________________________ ____________________ Advisor – Dr. Linda Koch Date I certify that this is the original document ________________________________________ ____________________ Author – Mark J. Danford Date Acknowledgements There are many people I would like to thank for their encouragement and support during my graduate studies. I would like to thank the following people at John Carroll University: Dr. William Francis Ryan for introducing me to the Humanities Program; Dr. Brenda Wirkus for advising me and working with my hectic schedule so that I could complete my studies; and Dr. Linda Koch for providing me with an excellent foundation in the field of Art History as well as taking the extra time out of her schedule in order to be my thesis advisor. I would also like to thank Dr. Edward Olszewski from Case Western Reserve University for agreeing to be an additional reader of my thesis and offering his expertise concerning Florence and the Medici. I would like to thank the following people for making my research a little easier and offering me access to the curatorial files in their respective institutions: Andrea Mall from Registration at the Toledo Museum of Art; Anne Halpern from the Department of Curatorial Records at the National Gallery of Art; and Jennifer Vanim from the department of European Painting & Sculpture before 1900 at the Philadelphia Museum of Art. -
RAR, Volume 15, 1995
The RUTGERS ART REVIEW Published by the Graduate Students of the Department of Art History at Rutgers, The State University of New Jersey Volume 15,1995 Copyright © 1996 by Rutgers, The State University of New Jersey All rights reserved Manufactured in the United States of America ISSN 0194-049X Typeset by Craig Eliason Benefactors The Graduate Student Association, Rutgers, The State University of New Jersey Patrons The Samuel Pardoe Foundation James Smalls Contributors Robert Bergman Rona Goffen Archer St. Clair Harvey Joan Marter Sarah Blake McHam Elizabeth McLachlan Friends Anonymous (1) A. S. Arbury Evan Brownstein Marianne Ficarra John F. Kenfield III Jack Spector David G. Wilkins The editorial board of the Rutgers Art Review, volume 15, gratefully acknowledges the advice and expertise of the faculty of the department of Art History, Rutgers Univer sity, and, in particular, faculty advisors Matthew Baigell and Tod Marder. The board also thanks all the professional readers of papers submitted for this issue. The editors extend special thanks to Anand Commissiong, office director of the Catharine R. Stimpson Graduate Publications Office of Rutgers University, without whom this issue could not have been published. The Rutgers Art Review extends its appreciation to Nikola Stojsin and Donald Fallon, members of the Graduate Student Association/Graduate Publications Committee, Rutgers University. Their continued professional support has been crucial to the success of the RAR. Rutgers Art Review Volume 15 Co-Editors Maggie Patrick-Sternin -
Soutine Ou Le Lyrisme Désespéré : Traduction Commentée
UNIVERSITÉ PALACKÝ À OLOMOUC Faculté des arts Département des études romanes Soutine ou le lyrisme désespéré : Traduction commentée d’une publication biographique avec un glossaire Soutine ou le lyrisme désespéré: Commented Translation of a Biographical Publication with a Glossary (Mémoire de licence) Auteur : Martin Kaňovský Directrice de recherche : Doc. PhDr. Marie Voždová, Ph.D. Olomouc 2020 Je, soussigné, Martin Kaňovský, atteste avoir réalisé ce mémoire moi-même et avoir noté toutes les références utilisées dans le présent travail. Je déclare que toutes les citations qui proviennent d’autres sources que de celles françaises sont traduites par l’auteur du mémoire. À Olomouc, le 17 août 2020 Signature ................................................ Je tiens à exprimer ma reconnaissance à la Directrice de ce mémoire, doc. PhDr. Marie Voždová, Ph.D., d’avoir assumée la surveillance sur mon mémoire ainsi que pour sa disponibilité et ses conseils. Je remercie également à Mgr. Jan Jeništa, Ph.D. de m’avoir introduit à la discipline de la traduction et à Mgr. Kristýna Křeháčková pour sa direction de ce mémoire à son commencement. À la fin, je voudrais adresser mes remerciements à ma famille de m’avoir apporté leur support tout au long de mes études. Table des matières Introduction ............................................................................................................................... 6 I Soutine ou le lyrisme désespéré ....................................................................................... 8 I.1 Éditions