Revision and Exploration German Landscape
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LINK to Newsletter 21
Winter 2012 FRIENDS No. 21 of the Non-Catholic Cemetery in Rome N E W S L E T T E R th Special issue on the 18 century. Plus, index to Newsletter issues 1-21 THE FIRST BURIAL WAS IN 1716! Editor’s note: How and when did the Cemetery start? We now have some answers to these questions. It has long been suspected that the first burials were made in the 1720s but Professor Corp (below) provides both a firm date (1716) and a historical context: from the start, it was the Pope who conceded to Protestants the right to burial next to the Pyramid. This is an important breakthrough in our understanding of this his- toric site and its role in Rome’s history. In this special 8-page issue devoted mainly to the 18th century, we announce some new discoveries (such as graffiti dated 1774) and re-assess some earlier ones. Our regular columns of ‘Who they were’ and ‘How others see the Cemetery’ also focus on the 18th century, before we come up to date again with news of current events. J.A.Merigot. The pyramid of Caius Cestius, 1796. Aquatint with handcolouring THE ORIGINS OF THE PROTESTANT For many years the exiled Stuart king and his Jacobite supporters CEMETERY IN ROME lived in France, where Louis XIV opposed toleration, but in 1716 King James III and his court took refuge within the Papal States – Edward Corp first at Avignon, then at Urbino, and finally in Rome itself. As a result, many English and Scottish Jacobite Protestants (Anglicans The Glorious Revolution in England and Scotland in the winter of and Episcopalians) began to arrive in Italy. -
Daxer & Marschall 2015 XXII
Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century. -
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. -
Paysages D'italie. Les Peintres Du Plein Air (1780 - 1830)
Bianchini, Marie-Claude; Foulon, Béatrice (Hrsg.): Paysages d'Italie. Les peintres du plein air (1780 - 1830). Galeries nationales du Grand Palais 3 avril -9 juillet 2001. Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantoue, 1er septembre-16 décembre 2001/ Dirigé par Béatrice Foulon.Coordination éditorale Marie-Claude Bianchini., Milano,Paris: Electa 2000 ISBN-13: 978-2-7118-4196-7, XLVIII, 384 p Paysages d'Italie. Les Peintres du plein air (1780-1830) (Paris) Galeries nationales du Grand Palais, Apr 3–Jul 9, 2001 Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantua 01.09.-16.12.2001 Reviewed by: Helen Josephine Langdon In a small painting, "The Artist in His Room at the Villa Medici in Rome", (Cleveland Museum of Art) the French painter, Leon Cogniet, Prix de Rome pensionnaire, shows himself leaning against his bed, reading his first letter from home. Around his monk like room are emblems of his occupa- tion; a palette, a guitar, props for future history paintings - a helmet, shield, and sword - and a walk- ing stick, hat and cloak, suggesting his excursions in the Campagna. Above all the window is flung open, framing two cypress trees and a stretch of Roman countryside, and filling the shadowy space with bright sunlight. It is an intensely evocative work, which seems to crystallise the inter- ests of the painter in Italy in the early 19th century, suggesting both the lingering demand for his- torical compositions, and a growing passion for direct and spontaneous landscape painting, a vision newly revealed by the light and beauty of the South. -
Valmontone Conference on Mattia Preti
Baroque Routes - 2014 / 15 5 Valmontone Conference on Mattia Preti A scholarly conference focused on the Cavaliere Calabrese, the artist Mattia Preti, was held on Monday 3 November 2014 at Palazzo Pamphilj in Valmontone, around 30 kilometres from Rome. Participants examined the status of research into this artist following the celebrations of the 400th centenary of his birth (1613-2013). The event was titled ‘Sotto la volta dell’aria. Mattia Preti: Approfondimenti e ricerche.’ This conference was organised by the International Institute for Baroque Studies at the University of Malta in association with the Soprintendenza PSAE del Lazio and the Comune di Valmontone. For this purpose an on-site scientific committee composed of Sante Guido, Dora Catalano of the Superintendence extensive decoration of eighteenth-century of the region, Monica Di Gregorio, director palaces throughout Europe. Allegorical figures of the museum of Palazzo Doria Pamphilj, representing the natural elements, such as Day, and Giuseppe Mantella, a leading restorer of Night, Dawn, as well as Love, Fortune and many Mattia’s Preti’s works, was set up. The ‘Volta others, adorn this vault. It is important to note dell’aria’ indicated in the title of the conference that it was during his stay at Valmontone, that refers to a fresco on the ceiling of the grand Preti planned his entire project for the decoration hall of the palace where the event took place, of the Co-cathedral in Valletta. When he arrived and which was painted in the spring of 1661 in Malta in the summer of 1661 and proposed to for Prince Camillo Pamphilj in the piano paint the story of St John the Baptist, his designs nobile of his palace. -
Waldlandschaft Mit Reiter Waldlandschaft Mit Einem Wehr
Ferdinand Kobell (?) oder Ferdinand Kobell (?) oder Nachfolger Nachfolger Waldlandschaft mit Reiter Waldlandschaft mit einem Wehr Pr381 / M165 / Kasten 7 Pr382 / M166 / Kasten 7 Pr381 / Waldlandschaft mit Reiter Pr382 / Waldlandschaft mit einem Wehr Historisches Museum Frankfurt (15.04.2021) 1 / 6 Ferdinand Kobell Mannheim 1740–1799 München Bruder des Franz (1749–1822), Vater von ĺ Wilhelm von Kobell. Zunächst Studium der Rechte an der Heidelberger Universität 1756–60 mit dem Abschluss des juristischen Staatsexamens, danach Sekretär im Hofdienst des Kurfürsten Carl Theodor in Mannheim. Möglicherweise erste Unterweisungen durch den Mannheimer Galeriedirektor ĺ Philipp Hieronymus Brinckmann. Ab 1762 Befreiung vom Hofdienst und Studium an der Mannheimer Zeichnungs-Akademie unter Pieter Antonie von Verschaffelt (1710–1793). 1764 Heirat mit Maria Theresia Lederer. 1768 bis 1770 Reise nach Paris, wo er sich bei Johann Georg Wille (1715–1808) in der Technik des Radierens unterrichtete. 1771 Ernennung zum Kabinetts-Landschafts-Maler. 1793 Umzug nach München, wo er 1798 zum Direktor der aus Mannheim überführten Gemäldegalerie ernannt wurde. Sein Spezialgebiet sind Landschaften (sowohl ideale als auch Veduten) und Gernemalerei. Vorbildlich war die niederländische Kunst des Goldenen Zeitalters, insbesondere die Italianisanten wie ĺ Nicolaes Berchem oder ĺ Jan Both, aber auch Allart van Everdingen (1621–1675) oder ĺ Antonie Waterloo. Neben Galerie- und Kabinettbildern schuf Kobell Supraporten und andere Raumausstattungen, daneben ein reiches Œuvre an Zeichnungen und Radierungen, wobei sein Schaffensdrang in den Münchner Jahren fast gänzlich zum Erliegen kam. Werke im Prehn'schen Kabinett Pr381, Pr382 Literatur Stengel 1822 (Wvz. Radierungen); Nagler, Bd. 7 (1839), S. 91–99 (mit Wvz. Radierungen); Biedermann 1973 (Wvz. Gemälde); Gesche 1993/94, bes. -
Lowell Libson Limited
LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised -
Così Jacob Philipp Hackert Scriveva Al Barone Offemberg Von Mitau Il 16 Novembre Del 1790. Gli Raccontava Del Suo Soggiorno
LE VEDUTE DEI PORTI DEL REGNO : J ACOB PHILIPP HACKERT , IL VEDUTISTA AL SERVIZIO DEL RE anna grIMaLdI «La scorsa primavera ho visitato le coste della calabria e una parte della Sicilia, per disegnare su commissione del re la suite dei porti marini. in Sicilia sono stato a Siracusa, augusta, Li ciclope, a taci tauraminia, messina e palermo » ( LoHSE , 1936, p. 29; WEIdnEr , 1997, p. 4). Così Jacob Philipp Hackert scriveva al barone offemberg von Mitau il 16 novembre del 1790. gli raccontava del suo soggiorno nelle province del regno di napoli nel periodo in cui Ferdinando IV di Borbone, tra il 1787 e il 1794, com - missionò all’artista prussiano la serie delle vedute dei porti del regno . In un’altra lettera dalla Sicilia così scriveva al conte dönhoff: «Carissimo conte, ho ricevuto la vostra piacevole lettera in Sicilia dove mi sono fermato per ben tre mesi, compresa la costa della Calabria fino a reggio. Il re mi ha mandato qui con una piccola felouque ben armata, con 12 uomini, per realizzare la suite dei porti del regno. In Calabria ho trovato ben poco di valore per un pittore, escluse l’isola di Cerella e diamante. reggio è molto pittoresca ma totalmente distrutta dal terremoto. In compenso mi sono rifatto in Sicilia. anche se Messina era stata quasi del tutto rovinata dal terremoto, si è già di nuovo ripresa e quasi del tutto ricostruita, in parte per gli aiuti del governo, in parte perché è un porto libero […] i prospetti di qui sono certamente tra i più belli che si possono vedere in Eu - ropa» ( CIoFFI , 2004, scheda a cura I. -
Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings
ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. -
Unveiling the Goddess Artemis of Ephesus As a Symbol of Nature at the Turn of the Nineteenth Century
Unveiling the Goddess Artemis of Ephesus as a symbol of nature at the turn of the nineteenth century Frederika Tevebring In 1807 Alexander von Humboldt published his Ideen zu einer Geographie der Pflanzen nebst ein Naturgemälde der Tropenlander, a translation from French of one of the volumes written as a result of his five-year expedition to Latin America. The German translation includes a frontispiece by Humboldt’s friend, the Danish artist Bertel Thorvaldsen. The image shows a statue of Artemis of Ephesus being unveiled by Apollo.1 At the base of the statue lies a tablet with the inscription Metamorphose der Pflanzen, a reference to Humboldt’s much-esteemed friend Goethe to whom the fron- tispiece is dedicated. In a letter to Goethe Humboldt expresses his enthu- siasm for the image and how he looks forward to presenting the book to his friend. “After so many years of absence I did not want appear before you in any other way but through this small tribute, which is a testimo- nial of my deep reverence and profound gratefulness towards you,” and “my friend Thorvaldsen in Rome has come up with this vignette for me. It refers to the synthesis of Poetry, Philosophy and Natural sciences brought together in your person.”2 Thorvaldsen’s picture was not the first of its kind; the unveiling of the ancient goddess had been a reoccurring pictorial trope in discourses on the pursuit of philosophical and scientific knowledge since the seventeenth century, when it also became increasingly popular on frontispieces to scientific treatises. Goethe himself had made use of similar images on several occasions. -
AITKEN Leonard Thesis
Time Unbound: An Exploration of Eternity in Twentieth- Century Art. c. Leonard Aitken 2014 Time Unbound: An Exploration of Eternity in Twentieth- Century Art. SUBMISSION OF THESIS TO CHARLES STURT UNIVERSITY: Degree of Master of Arts (Honours) CANDIDATE’S NAME: Leonard Aitken QUALIFICATIONS HELD: Degree of Master of Arts Practice (Visual Arts), Charles Sturt University, 2011 Degree of Bachelor of Arts (Visual Arts), Charles Sturt University, 1995 FULL TITLE OF THESIS: Time Unbound: An Exploration of Eternity in Twentieth-Century Art. MONTH AND YEAR OF SUBMISSION: June 2014 Time Unbound: An Exploration of Eternity in Twentieth- Century Art. SUBMISSION OF THESIS TO CHARLES STURT UNIVERSITY: Degree of Master of Arts (Honours) ABSTRACT The thesis examines contemporary works of art which seek to illuminate, describe or explore the concept of ‘eternity’ in a modern context. Eternity is an ongoing theme in art history, particularly from Christian perspectives. Through an analysis of artworks which regard eternity with intellectual and spiritual integrity, this thesis will explain how the interpretation of ‘eternity’ in visual art of the twentieth century has been shaped. It reviews how Christian art has been situated in visual culture, considers its future directions, and argues that recent forms are expanding our conception of this enigmatic topic. In order to establish how eternity has been addressed as a theme in art history, the thesis will consider how Christian art has found a place in Western visual culture and how diverse influences have moulded the interpretation of eternity. An outline of a general cosmology of eternity will be treated and compared to the character of time in the material world. -
Romantic Germany May 2019 Drawings from Weimar’S Museums 22 May - 1 September 2019
PRESS KIT Romantic Germany May 2019 Drawings from Weimar’s Museums 22 May - 1 September 2019 Tuesday - Sunday, 10 am - 6 pm INFORMATION Open late: Friday until 9 pm www.petitpalais.paris.fr Franz Kobell, Paysage avec grotte, tombeaux et ruines au clair de lune (détail), vers 1787 © Klassik Stiftung Weimar Exhibition organised in association with PRESS CONTACT: Mathilde Beaujard [email protected] +33 1 53 43 40 14 Romantic Germany, drawings from Weimar’s museums - 22 May / 1 September 2019 CONTENTS Press Release p. 3 Guide to the exhibition p. 4 The exhibition scenography p. 9 Exhibition album p. 10 The Ingres of the Montauban’s museum p. 11 Paris Musées, a network of Paris museums p. 12 About the Petit Palais p. 13 Practical information p. 14 2 Romantic Germany, drawings from Weimar’s museums - 22 May / 1 September 2019 PRESS RELEASE For the first time in France the Petit Palais is presenting a selection of 140 drawings from the lavish collections of Weimar’s museums. These remarkable images – initially chosen by Goethe (1749–1832) for the Grand Duke of Saxe- Weimar-Eisenach and his own collection – offer a spec- tacular overview of the golden age of German drawing (approx. 1780–1850). In the late 18th century the city of Weimar, seat of the Dukes of Saxe-Weimar, was Germany’s intellectual hub. A key figure at this enlightened court, Goethe accumulated numerous posts of cultu- ral responsibility, in addition to writing most of his works there. Himself a knowledgeable collector and draughtsman, he built up for the Grand Duke a handsome collection representing every facet of German drawing.