Precious Textiles Have Always Played an Important Role As a Medium Of

Total Page:16

File Type:pdf, Size:1020Kb

Precious Textiles Have Always Played an Important Role As a Medium Of FASHION SHOW Precious textiles have always played an important role as a PRINCELY WARDROBES medium of representation and as a means of expressing high OF THREE CENTURIES social rank. Only an elite segment of the public could afford exquisite textiles and dress in the latest fashion. Portraits in which personalities of standing had themselves depicted in SPECIAL EXHIBITION expensive clothing today give us insightful information about JUNE 17 TO OCTOBER 3, 2021 the original condition of these wardrobes. Their ingenuity and the exquisite materials used continue to captivate viewers. For the first time, a selection of paintings by renowned artists from the Habsburg Portrait Gallery kept at Ambras Castle, from Giuseppe Arcimboldo to Diego Velázquez, is placed at the centre of an exhibition, focusing on fashions from the Renaissance to the Baroque period. What are the sitters in these portraits wearing, how are their clothes obtained, and what do they communicate to the viewer? The show will be enriched by precious original clothing of which, due to their fragility, only a few are preserved. On dis- ILLUSTRATION: (DETAIL) ARCHDUCHESS MARIA MAGDALENA (1587–1631). FRANS play are, for example, the bridal robe of Duke August of Sa- POURBUS THE YOUNGER, C.1603/1604 xony from 1548, a doublet from 1555 and a velvet cloak from KUNSTHISTORISCHES MUSEUM VIENNA, 1560. Headdresses and shoes, accessories such as collars, PICTURE GALLERY, INV. NO. 3385 (SCHLOSS AMBRAS INNSBRUCK) gloves and fans, as well as exquisite pieces of jewelry, have © KHM-MUSEUMSVERBAND also been lent to the exhibition by international museums. Schloss Ambras Innsbruck, Schlossstraße 20, A-6020 Innsbruck, Austria [email protected], Tel.: +43 1 525 24 - 4802, www.schlossambras-innsbruck.at, FASHION SHOW An essential element of the exhibition is the inclusion of new PRINCELY WARDROBES media: film visualisations tell stories behind the pictures and put OF THREE CENTURIES fashion under the microscope, right down to the last detail. In this way, the Fashion Show becomes not just a visual experience, but one appealing to a range of senses at once. SPECIAL EXHIBITION JUNE 17 TO OCTOBER 3, 2021 The special exhibition Fashion Show displays around 130 paintings and objects from the collections of the Kunsthistorisches Museum Vienna, as well as from those of both Austrian and international lenders. The comprehensive homepage offers multimedia possibilities to delve more deeply into the subject, including teasers, trailers, and ‘making of’ visualisations. A richly illustrated and lavishly designed catalogue is published alongside the special exhibition. Schloss Ambras Innsbruck, Schlossstraße 20, A-6020 Innsbruck, Austria [email protected], Tel.: +43 1 525 24 - 4802, www.schlossambras-innsbruck.at, FASHION SHOW Special exhibition PRINCELY WARDROBES 17 June to October 3, 2021, daily 10 a.m. to 5 p.m. OF THREE CENTURIES ENTRANCE FEES Adults € 16 Concessions € 12 Children and teens under 19 years free Famliy ticket € 24 Annual ticket € 49 Annual ticket U25 (younger than 25 years) € 25 Annual ticket family € 79 FURTHER INFORMATION Armin Berger Press & Communications Schloss Ambras Innsbruck ILLUSTRATION: KNITTED SILK TRUNK - Schlossstraße 20 HOSE OF DUKE AUGUST OF SAXONY, A-6020 Innsbruck, Austria BEFORE 1555. STAATLICHE KUNST- T +43 1 525 24 - 4803, [email protected] SAMMLUNGEN DRESDEN, RÜSTKAMMER INV.-NR. i.0057 © SKD, RÜSTKAMMER, http://www.schlossambras-innsbruck.at/entdecken/organisation/presse/ FOTO: JÜRGEN LÖSELJ Schloss Ambras Innsbruck, Schlossstraße 20, A-6020 Innsbruck, Austria [email protected], Tel.: +43 1 525 24 - 4802, www.schlossambras-innsbruck.at, .
Recommended publications
  • Hartmut Boockmann 1934-1998
    __________________________________________________ MITTEILUNGEN DER RESIDENZEN-KOMMISSION DER AKADEMIE DER WISSENSCHAFTEN ZU GÖTTINGEN JAHRGANG 8 (1998) NR. 2 MITTEILUNGEN DER RESIDENZEN-KOMMISSION DER AKADEMIE DER WISSENSCHAFTEN ZU GÖTTINGEN JAHRGANG 8 (1998) NR. 2 RESIDENZEN-KOMMISSION ARBEITSSTELLE KIEL ISSN 0941-0937 Herstellung: Vervielfältigungsstelle der Christian-Albrechts-Universität zu Kiel Titelvignette: Blick auf die Neue Burg mit Denkmal Prinz Eugens am Heldenplatz (© Österreich Werbung) INHALT Hartmut Boockmann 1934-1998 ...................................................................................5 Auswahlbibliographie Hartmut Boockmann........................................................9 Aus der Arbeit der Kommission ................................................................................ 15 Schriftenverzeichnis Karl-Heinz SPIESS ............................................................ 19 Die Arbeit der anderen .............................................................................................. 24 Jeroen DUINDAM, Utrecht: The court of the Austrian Habsburgs: locus of a com- posite heritage .................................................................................................. 24 Cordula NOLTE, Greifswald: Studien zum familialen und verwandtschaftlichen Beziehungsnetz der Markgrafen von Brandenburg (Projektskizze).................... 59 Kolloquiumsberichte................................................................................................. 65 6. Symposium der Residenzenkommission
    [Show full text]
  • Arcimboldo Challenge
    The Arcimboldo Challenge Giuseppe Arcimboldo, Earth, circa 1566, Private collection Giuseppe Arcimboldo, Vertumnus, 1591, Skokloster Castle, Sweden One wouldn’t normally describe Gari Melchers as a common garden-variety portrait painter, but compared to the portraits of the 16th century Italian portrait painter Giuseppe Arcimboldo (1526-1593), most modern portrait paintings are exceedingly dull. For those who have always loved pictorial puzzles and curiosities, Arcimboldo is appreciated for his witty and original grotesques. The mannerist painter possessed a singular imagination, churning out fantastical likenesses of his patrons from carefully orchestrated composite heads based on vegetal, fruit, animate and inanimate themes. Today his celebrated reputation is based entirely on only a dozen or so bizarre pictures. They serve as much more than just painted jokes or illusionism. While he may not have been in the same league as the master painters of his day, his art is a tour de force of the imagination, and his oil paintings are the highly accurate records of a consummate naturalist, incorporating an impressive range of identifiable sea life, botanicals and plants. We thought it might be great fun to see how inspiring his work might be for artists today, especially while we are already looking for something to do during the COVID-19 emergency. Giuseppe Arcimboldo, Spring, Royal Academy, Madrid Gari Melchers Home and Studio is issuing an Arcimboldo Challenge! Artists of all ages are invited to create and submit digital images of their own. Painted Arcimboldo-Style Portrait Or Arcimboldo-Style Portrait Constructed Out of Three- Dimensional Objects Here is what you need to do: Paint or construct your 2-D portrait out of any media, watercolor, acrylic, magazine clippings, etc.
    [Show full text]
  • Giuseppe Arcimboldo's Composite Portraits and The
    Giuseppe Arcimboldo’s Composite Portraits and the Alchemical Universe of the Early Modern Habsburg Court (1546-1612) By Rosalie Anne Nardelli A thesis submitted to the Graduate Program in Art History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada July, 2014 Copyright © Rosalie Anne Nardelli, 2014 Abstract At the Renaissance noble court, particularly in the principalities of the Holy Roman Empire, alchemical pursuits were wildly popular and encouraged. By the reign of Rudolf II in the late sixteenth century, Prague had become synonymous with the study of alchemy, as the emperor, renowned for his interest in natural magic, welcomed numerous influential alchemists from across Europe to his imperial residence and private laboratory. Given the prevalence of alchemical activities and the ubiquity of the occult at the Habsburg court, it seems plausible that the art growing out of this context would have been shaped by this unique intellectual climate. In 1562, Giuseppe Arcimboldo, a previously little-known designer of windows and frescoes from Milan, was summoned across the Alps by Ferdinand I to fulfil the role of court portraitist in Vienna. Over the span of a quarter-century, Arcimboldo continued to serve faithfully the Habsburg family, working in various capacities for Maximilian II and later for his successor, Rudolf II, in Prague. As Arcimboldo developed artistically at the Habsburg court, he gained tremendous recognition for his composite portraits, artworks for which he is most well- known today. Through a focused investigation of his Four Seasons, Four Elements, and Vertumnus, a portrait of Rudolf II under the guise of the god of seasons and transformation, an attempt will be made to reveal the alchemical undercurrents present in Arcimboldo’s work.
    [Show full text]
  • Masterpiece: Autumn, 1573 by Giuseppe Arcimboldo
    Masterpiece: Autumn, 1573 by Giuseppe Arcimboldo Pronounced: Gee-you-she-pay Ar-cheem bowl-doh Keywords: portrait, texture, collage Grade: Kindergarten Month: November Activity: You are what you eat… Meet the Artist: He was born in Italy in 1527 to an influential family.He eventually becoming well known for his paintings. Many famous and wealthy people paid him to paint their portraits, or pictures of themselves. With time, he became a very odd portraitist. He adopted an odd and short lived style called mannerism. This style was in insult to the High Renaissance painters of the day, but he still got work. He became particularly famous after his series called seasons. Summer is one of them. This series shows a man made up of whatever that season had to offer. So, in Autumn, the man is made up of fruit from the fall, such as apples, grapes, and pumpkins. In Winter, The man is made up of a tree that has shed all of it’s leaves. He chose specific textures in the plants to portray people. His work resembles modern art. It could easily be a collage, or a painting made up of pieces of paper, put together to create art. He lived a busy and full life, dying in 1593. Possible Questions: o What items can you identify in Autumn? o Does it look textured to you, does it look like you could feel the skins of the fruit and vegetables? o Does it look like a painting that is several of hundreds of years old, or does it look like it could be an illustration in one of your books? o Do you like it? Why? Why not? o Do you think it is creative? o Would you like a portrait made of you in this style? Masterpiece: Autumn, 1573 by Giuseppe Arcimboldo Activity: You are what you eat… Materials Needed: White paper, food color copies, scissors, pencils, glue sticks Process: 1.
    [Show full text]
  • OF EUROPE by Tomasz Kosinski & Thomas Gregory Kosinski
    COINS OF EUROPE by Tomasz Kosinski & Thomas Gregory Kosinski 17,3 g 32 mm AUSTRIA CATALOG 1901 - 2015 in COLOR May 2015 www.numikos.com #1 European coin Catalog! Selling in over 30 countries and 300+ locations now also for Smartphones, Tablets or Computers!! EUROPA MÜNZKATALOG COINS OF EUROPE von 1901 bis 2014 or 1901-2014/5 Oktober 2013 Ausgabe (English Edition) (Deutsche Sprache) Austria - 3 € Belarus - 2 € Belgium - 2 € Bulgaria -2€ Czech Republic - 2 € Denmark - 1 € France - 5 € Germany - 6 € Great Britain - 3 € Italy - 3 € Netherlands - 2 € Poland - 5 € Portugal - 2 € Romania - 2 € Russia - 7 € San Marino - 3 € Spain - 4 € Ukraine - 3 € Vatican - 3 € ... Pictures of every coin, description, weight, size, metal composition and fair market value of coins based on average or lowest prices from recent auctions. www.numikos.com [email protected] All e-Catalogs from series “Coins of Europe” will have new added interactive features. To use those features on your mobile or tablet I recommend to download FREE program “Office Suite 7” from Google play. You can use search function to navigate. Type 1 word eg. year... 2014 and coins dated 2014 will be displayed with highlighted green color. Arrows in the menu will bring you to other pages with coins dated 2014. All prices are highlighted in yellow color. When you use FREE Office suite 7 - you can customize every coin by changing colors. Most important improvement in latest upgrade is that you can add Annotation to every single coin making it truly interactive catalog! Now you can make your own coin inventory, mark coins you have with different colors or add any notes you wish.
    [Show full text]
  • Giuseppe Arcimboldo's Grilli: Humor and Magic in Genre Portraits
    Cultural and Religious Studies, February 2019, Vol. 7, No. 2, 57-76 doi: 10.17265/2328-2177/2019.02.001 D DAVID PUBLISHING Giuseppe Arcimboldo’s Grilli: Humor and Magic in Genre Portraits Liana De Girolami Cheney Universidad de Coruña, Spain This essay examines one aspect of Giuseppe Arcimboldo’s portraiture: His genre depictions where he expands the art of illusionism or magic visualization into grilli (intellectual whims) and teste composte (composite heads). These images of reversible portraits of genre scenes, caricatural conceits, and visual puns are seen in The Cook or The Chef reversed as The Bowl of Meats of 1570 at the Nationalmuseum, Stockholm; The Vegetable Gardener reversed as The Bowl of Vegetables of 1590 at the Museo Civico “Ala Ponzone”, Cremona; and Il Frutaio, The Fruit Vendor reversed as The Basket of Fruits of 1591, at the French & Company Gallery in New York. In his imagery, Arcimboldo focuses on the paradoxical meaning of objects, “what if?” adding a sense of ambiguity and mystery to his art. Is Arcimboldo teasing the viewer with a Mannerist flare, or is he composing or implying another type of intellectual conceit? Ultimately, Arcimboldo invents a new type of genre: the emblematic humorous portrait. Keywords: composite heads, grilli, humor, delight, innuendo, symbolism, mannerism, Milan, School of Prague, art theory, grotesque The Mannerist painter Giuseppe Arcimboldo (1527-1593) was born in Milan in 1527, the son of artist Biagio Arcimboldo and Chiara Parisi (Kaufmann, 1976; Zeri, 2001/1998; Kaufmann, 2010; Cheney, 2008/2013/2015; Baltrusaïtis, 1987; Ferino-Pagden, 2007; Ferino-Pagden, 2018; Geiger, 1954).1 He died on July 11, 1593, in his native city (see Figures 1, 2, and 3).
    [Show full text]
  • № Wca № Castles Prefix Name of Castle Oe-00001 Oe-30001
    № WCA № CASTLES PREFIX NAME OF CASTLE LOCATION INFORMATION OE-00001 OE-30001 OE3 BURGRUINE AGGSTEIN SCHONBUHEL-AGGSBACH, AGGSTEIN 48° 18' 52" N 15° 25' 18" O OE-00002 OE-20002 OE2 BURGRUINE WEYER BRAMBERG AM WILDKOGEL 47° 15' 38,8" N 12° 19' 4,7" O OE-00003 OE-40003 OE4 BURG BERNSTEIN BERNSTEIN, SCHLOSSWEG 1 47° 24' 23,5" N 16° 15' 7,1" O OE-00004 OE-40004 OE4 BURG FORCHTENSTEIN FORCHTENSTEIN, MELINDA-ESTERHAZY-PLATZ 1 47° 42' 34" N 16° 19' 51" O OE-00005 OE-40005 OE4 BURG GUSSING GUSSING, BATTHYANY-STRASSE 10 47° 3' 24,5" N 16° 19' 22,5" O OE-00006 OE-40006 OE4 BURGRUINE LANDSEE MARKT SANKT MARTIN, LANDSEE 47° 33' 50" N 16° 20' 54" O OE-00007 OE-40007 OE4 BURG LOCKENHAUS LOCKENHAUS, GUNSERSTRASSE 5 47° 24' 14,5" N 16° 25' 28,5" O OE-00008 OE-40008 OE4 BURG SCHLAINING STADTSCHLAINING 47° 19' 20" N 16° 16' 49" O OE-00009 OE-80009 OE8 BURGRUINE AICHELBURG ST. STEFAN IM GAILTAL, NIESELACH 46° 36' 38,6" N 13° 30' 45,6" O OE-00010 OE-80010 OE8 KLOSTERRUINE ARNOLDSTEIN ARNOLDSTEIN, KLOSTERWEG 3 46° 32' 55" N 13° 42' 34" O OE-00011 OE-80011 OE8 BURG DIETRICHSTEIN FELDKIRCHEN, DIETRICHSTEIN 46° 43' 34" N 14° 7' 45" O OE-00012 OE-80012 OE8 BURG FALKENSTEIN OBERVELLACH-PFAFFENBERG 46° 55' 20,4" N 13° 14' 24,6" E OE-00014 OE-80014 OE8 BURGRUINE FEDERAUN VILLACH, OBERFEDERAUN 46° 34' 12,6" N 13° 48' 34,5" E OE-00015 OE-80015 OE8 BURGRUINE FELDSBERG LURNFELD, ZUR FELDSBERG 46° 50' 28" N 13° 23' 42" E OE-00016 OE-80016 OE8 BURG FINKENSTEIN FINKENSTEIN, ALTFINKENSTEIN 13 46° 37' 47,7" N 13° 54' 11,1" E OE-00017 OE-80017 OE8 BURGRUINE FLASCHBERG OBERDRAUBURG,
    [Show full text]
  • 361 Ivo Purš and Hedvíka Kuchařová Eds. Knihovna Arcivévody
    book reviews 361 Ivo Purš and Hedvíka Kuchařová eds. Knihovna arcivévody Ferdinanda II. Tyrolského (The Library of Archduke Ferdinand II of Tyrol), Vol. 1: Texty. Vol. 2: Katalog. 650 and 722 pp. (Prague, Artefactum, 2015, ISBN (for the two volumes) ISBN 9788086890746, CZK 980). Archduke Ferdinand II of Tyrol (1529-1595), a younger son of Emperor Ferdinand I and uncle to Emperor Rudolf II, was like his more famous nephew an avid collector. Concomitant to his ‘Kunst- und Wunderkammer’ and col- lection of weapons and armour, still to be seen, in part, in its original location at Ambras Castle near Innsbruck, Ferdinand owned a major library. After ser- vice as governor of Bohemia (1547-1567) his collections were transported from Prague Castle to Ambras Castle. The majority of the books and manuscripts entered the library from 1567 onwards, when Ferdinand was ruling Tyrol and Further Austria from his official court in Innsbruck and his preferred resi- dence Ambras Castle. Unfortunately, the library is not there anymore. The only early modern sources for its contents are an inventory made up a year after Ferdinand’s death at the behest of Emperor Rudolf II, and a long list of manu- scripts taken from Ambras Castle to the Imperial Library in Vienna by Peter Lambeck, Court Librarian to Emperor Leopold I, in 1665. In all, the library at © koninklijke brill nv, leiden, 2017 | doi 10.1163/15700690-12341388 362 book reviews Ambras Castle may have contained a couple of thousand printed books along- side hundreds of manuscripts. On the basis of these two sources which are complemented with modern bibliographies and data collections, many of them digitized, a reconstruction has now been produced in a catalogue com- prising 1231 titles stemming from the rooms of the library proper, 186 titles from the book collection in the ‘Kunstkammer’, and 10 titles from the Court Chapel (‘Hofkapelle’).
    [Show full text]
  • English / French
    World Heritage 23BUR Distribution limited WHC-99/CONF.204/6 Paris, 1 April 1999 Original : English / French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE BUREAU OF THE WORLD HERITAGE COMMITTEE Twenty-third session Paris, UNESCO Headquarters, Room X 5 - 10 July 1999 Item 5 of the Provisional Agenda : Information on Tentative Lists and examination of nominations of cultural and natural sites to the List of World Heritage in Danger and the World Heritage List SUMMARY 1. At its seventeenth session in Cartagena, December 1993, the Committee expressed its concern on the small number of tentative lists that meet the requirements as stipulated in the Operational Guidelines, paragraphs 7 and 8, and confirmed the importance of these lists for planning purposes, comparative analyses of nominations and for facilitating the undertaking of the global and thematic studies. These lists constitute also an inventory of the properties situated within the territory of each State Party, and which it considers suitable for inclusion on the World Heritage List. The Committee also confirmed that the tentative lists are mandatory for cultural properties which the State Party intends to nominate for inscription on the World Heritage List during the coming five to ten years. 2. Therefore, the Committee invited the States Parties, which had not yet done so, to submit tentative lists in accordance with the Operational Guidelines, with the understanding that "preparatory assistance should be provided if necessary and requested by the State Party concerned". The Committee also decided that "as of 1 October 1995, only nominations of cultural properties that are included in tentative lists which meet all requirements as stipulated in the Operational Guidelines would be processed." 3.
    [Show full text]
  • Downloaded from Brill.Com10/04/2021 02:00:46AM Via Free Access
    Chapter 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasks at Court 4.1 Looking for Patronage: Strada’s Arrival at the Imperial Court 4.1.1 Pope, King or Emperor: The Choice of a Patron We know very little about Strada’s activities immediately after his return to Germany, and we do not even know when exactly he returned. He must have visited Venice, possibly on his way up to Mantua, but more likely from there, leaving his family and his effects in the care of his relatives. In Venice he made arrangements for the printing of the two books of which he had acquired the manuscripts from Onofrio Panvinio, the Fasti et triumphi and the Epitome pontificum. By the end of 1555 the planning of this was sufficiently advanced for Strada to make a formal request for a copyright privilege, which Charles v granted him from Brussels on the 8th of January of 1556. Apart from the two books by Panvinio, the privilege also includes the first mention of a volumi- nous illustrated universal dictionary or encyclopaedia in the three classical languages, and of a new, Latin edition of Leandro Alberti’s Descrittione d’Italia, which was likewise intended to be illustrated.1 This request is the first indica- tion of Strada’s ambition to set up as a publisher himself, and particularly as a publisher of books aimed at a scholarly or at least educated audience. What is particular about the books mentioned here, is that all were planned to include printed images to illustrate the text, or to add information that could not easily be conveyed in words alone.
    [Show full text]
  • Ambras Pressetext DE EN FR IT.Indd
    SCHLOSS AMBRAS INNSBRUCK Der Tiroler Landesfürst Erzherzog Ferdinand II. (1529–1595), Sohn Kaiser Ferdinands I., ließ die mittelalterliche Burg Ambras als Geschenk für seine Frau Philippine Welser zum Renaissanceschloss ausbauen. Der humanistisch gebildete Habsburger brachte seine weltberühmten Sammlungen in einem eigens errichten Museumbau unter. Schloss Ambras Innsbruck ist damit das älteste Museum der Welt. Ferdinand war eine der bedeutendsten Sammlerpersönlichkeiten der Geschichte. Die Rüstkammern zeigen Meisterleistungen der europäischen Plattnerkunst aus der Zeit Kaiser Maximilians I. bis Kaiser Leopolds I. Die Kunst- und Wunderkammer ist als einzige am ursprünglichen Ort erhaltene Kunstkammer der Renaissance ein unvergleichliches Kulturdenkmal. Der Spanische Saal zählt zu den schönsten Saalbauten der Renaissance. Den Innenhof SCHLOSS AMBRAS INNSBRUCK des Hochschlosses schmücken Fresken in Grisaille-Malerei. Das Bad der Philippine SCHLOSSSTRASSE 20 Welser stellt eine kulturhistorische Rarität dar. Die Kapelle ist St. Nikolaus geweiht. 6020 INNSBRUCK In der Glassammlung Strasser sind kostbare Gläser aus der Renaissance und dem T +43 1 525 24 - 4802 Barock zu sehen. WWW.SCHLOssaMBRAS- INNSBRUCK.AT Im Sommer ist zudem auf drei Stockwerken die Habsburger Porträtgalerie geöffnet. INFo@SCHLOssaMBRAS- Die Gemälde stammen von berühmten Malern wie Hans Burgkmair, Lukas INNSBRUCK.AT Cranach d. J., Giuseppe Arcimboldo, Peter Paul Rubens, Diego Velázquez u. a. WWW.FACEBOOK.com/ SCHLOSSAMBRAS Öffnungszeiten: Täglich 10-17 Uhr, November geschlossen. AMBRAS CASTLE The princely sovereign of Tyrol, Archduke Ferdinand II (1529–1595), son of Emperor Ferdinand I, ordered that the mediaeval fortress at Ambras be turned into a Renaissance castle as a gift for his wife Philippine Welser. The cultured humanist from the House of Habsburg accommodated his world-famous collections in a museum built specifically for that purpose, making Castle Ambras Innsbruck the oldest museum in the world.
    [Show full text]
  • ARCIMBOLDO FACE to FACE I Z Z I R E B
    Mécène fondateur 29.05 PRESS RELEASE → A R 22.11.21 C I M B O L D O F A C E TOFACE # c e f a nt c e r e a p a r o c m i m p b i d o o l d u o - m e t z . f r M/M (PARIS) Giuseppe Arcimboldo, Les Quatre Saisons, Le Printemps , 1573 ; huile sur toile, 76 × 63,5 cm ; Paris, musée du Louvre, département des Peintures. Photo ©RMN-Grand Palais (musée du Louvre)/Jean-Gilles Berizzi ARCIMBOLDO FACE TO FACE CONTENTS 1. GENERAL PRESENTATION .................................................................5 2. GIUSEPPE ARCIMBOLDO ...................................................................8 3. ARCIMBOLDO FACE TO FACE ..........................................................11 4. EXHIBITION LAYOUT .......................................................................18 5. FORUM .............................................................................................24 6. LISTE OF ARTISTS ............................................................................26 7. LISTE OF LENDERS ..........................................................................28 8. CATALOGUE & PUBLICATIONS ..........................................................30 9. RELATED PROGRAMME ....................................................................33 10. YOUNG PEOPLE AND EDUCATIONAL ACTIVITIES ............................38 11. PARTNERS......................................................................................40 12. PRESS VISUALS .............................................................................46 3 ARCIMBOLDO FACE TO FACE Mario
    [Show full text]