DOCSLIB.ORG

Morganhallguide-Print.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Morganhallguide-Print.Pdf SOUTH WALL NORTH WALL 1 William Heysham Overend 8 Emanuel de Witte 15 Cigoli (Ludovico Cardi) 22 Jacob Pynas 28 Sir Thomas Lawrence 35 Claude Vignon and Studio 1 Emanuel Gottlieb Leutze 8 Unidentified Artist 15 Cristóbal Villalpando 20 Constance Mayer 26 John Trumbull 32 Carlo Dolci English, 1851–1898 Dutch, 1617 – 1692 Italian, Florence, 1559 – 1613 Dutch, c. 1590 – c.1648 English, 1769 – 1830 French, 1593 – 1670 German, active in America, Italian, Bologna Mexican, 1649 – 1714 (Marie–Françoise–Constance American, 1756 – 1843 Italian, Florence, 1616 – 1686 An August Morning with The New Fish Market in Adoration of the Shepherds, The Adoration of the Magi, 1617 Lady St. John as “Hebe,” c. 1808 Banquet of Anthony and 1816 – 1868 Fantastic Architectural The Archangel Michael, c. 1700 La Martinière) The Death of General Warren Christ Child with Flowers, Farragut; The Battle of Mobile Amsterdam, 1678 c. 1602 Oil on copper Oil on canvas Cleopatra, c. 1630 The Storming of the Teocalli by Perspective, c. 1730–40 Oil on canvas French, 1775 – 1821 at the Battle of Bunker’s Hill, c. 1670s Bay, August 5, 1864, 1883 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift in memory of Mae Cadwell Oil on panel Cortez and His Troops, 1848 Oil on canvas The Ella Gallup Sumner and Mary Catlin Self–Portrait of the Artist with June 17, 1775, 1834 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin The Douglas Tracy Smith and Dorothy Sumner Collection Fund, 1959.103 Rovensky, 1961.194 The Ella Gallup Sumner and Mary Catlin Oil on canvas The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1939.583 her Father, 1801 Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift of Citizens of Hartford by Sumner Collection Fund, 1949.447 Potter Smith Fund, 1992.75 Sumner Collection Fund, 1956.728 The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1942.346 Oil on canvas Purchased by Daniel Wadsworth and Sumner Collection Fund, 1937.488 23 29 16 Subscription, 1886.1 Viviano Codazzi and Jacopo Tintoretto Sumner Collection Fund, 1985.7 School of Simon Vouet The Ella Gallup Sumner and Mary Catlin members of the Atheneum Committee, 9 Godfried Schalcken 16 Domenico Corvi Domenico Gargiulo Italian, Venice, 1519 – 1594 36 Jacopo Tintoretto 9 Giuseppe Antonio Petrini French, 1590 – 1649 Sumner Collection Fund, 1989.1 1844.1 33 Fyodor Alekseyev 2 Stephen Slaughter Dutch, 1643 – 1706 Italian, Rome, 1721 – 1803 Italian, 1603/4 – 1670, The Contest between Apollo and Italian, Venice, 1519 – 1594 2 Edwin Landseer Swiss, 1677 – c. 1757 St. Ursula, c. 1620 (Copy after Canaletto) English, 1697 – 1765 Reclining Venus and Satyr The Miracle of Saint Joseph Italian, 1609/10 – 1675 Marsyas, c. 1545 Hercules and Antaeus, c. 1570 English, 1802 – 1873 Barbary Pirate Oil on canvas 21 Hendrick ter Brugghen 27 Domenico Corvi Russian, 1753 – 1824 Young Woman with Servant Oil on panel Calasanz Resuscitating a Child The Men’s Bath, c. 1645 Oil on canvas Oil on canvas The Otter Hunt, 1843–45 Oil on canvas The Ella Gallup Sumner and Mary Catlin and Workshop Italian, Rome, 1721 – 1803 Reception of Count Gergy Oil on canvas Gift of Mr. and Mrs. Arthur L. Erlanger, in a Church at Frascati, 1767 Oil on canvas The Ella Gallup Sumner and Mary Catlin The Ella Gallup Sumner and Mary Catlin Oil on panel The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1961.285 Dutch, 1588 – 1629 Henry Stuart, Cardinal Duke at the Ducal Palace, Venice The Ella Gallup Sumner and Mary Catlin 1958.70 The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1950.438 Sumner Collection Fund, 1928.2 The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1968.116 King David Harping, of York, c. 1760 Oil on canvas 17 Aelbert Cuyp (The Reception of the French Sumner Collection Fund, 1987.1 The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1959.256 Sumner Collection Fund, 1942.347 Surrounded by Angels, c. 1628 Oil on canvas Ambassador at the Doge’s Palace) 10 Jacob Ochtervelt 30 Frederic Lord Leighton 37 Copy after Raphael 10 Viviano Codazzi Dutch, 1620 – 1691 Sumner Collection Fund, 1981.24 Oil on canvas Gift of Judge Samuel E. Friedman and Oil on canvas 3 Girolamo Forabosco Dutch, 1634 – 1682 24 Scarsellino (Ippolito Scarsella) English, 1830 – 1896 Italian 3 Melchior de Hondecoeter Italian, c. 1604 – 1670 Wooded Landscape with The Ella Gallup Sumner and Mary Catlin Judge Irwin E. Friedman, 1960.286 The Ella Gallup Sumner and Mary Catlin 17 Italian, Ferrara, c. 1550 –1620 Italian, 1604/5 – 1679 The Dancing Dog, 1669 Luca Giordano Hercules Wrestling with Death for Madonna della Sedia, Dutch, 1636 – 1695 Composite scene with an Artist, c. 1643 Sumner Collection Fund, 1942.29 Sumner Collection Fund, 1941.154 Lot and His Daughters Oil on canvas Italian, Naples, 1634 – 1705 Fame Conquering Time, the Body of Alcestis, c. 1869–71 late 19th century Dead Game Roman Campagna Oil on canvas 28 Giovanni Paolo Panini Oil on canvas The Ella Gallup Sumner and Mary Catlin Saint Sebastian Tended by Irene c. 1610–15 Oil on canvas Oil on canvas Oil on canvas Oil on canvas Gift of Dr. and Mrs. Charles C. Beach, 22 Follower of Caravaggio (Master Italian, 1691 – 1765 34 Georges Rouault Gift of Paul Porzelt, 1953.214 Sumner Collection Fund, 1934.35 and Her Companions, c. 1660 Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift of Mrs. Charles A. Robinson and Gift of Mrs. Walter Keney, 1899.1 Bequest of Elliott Carter, 2013.11.7 Charles B. Curtis, Mrs. and Mrs. Eugene of the Open–Mouthed Boys) The Picture Gallery of Cardinal French, 1871 – 1958 L. Garbaty, Dr. Francis Goodwin, Oil on canvas The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1982.46 Mrs. Albert H. Olmsted, 1897.9 French, 17th century Silvio Valenti Gonzaga, 1749 The Way to Calvary, 1891 4 Johannes Zick 11 Gerrit Berckheyde 4 Cornelis Gerritsz. Decker 11 Giovanni Domenico Tiepolo Walter K. Gutman, Mrs. Walter Keney, Gift of Frank G. Macomber, 1936.33 Sumner Collection Fund, 1985.50 Head of a Boy, c. 1620–25 Oil on canvas Oil on canvas Dutch, 1638 – 1698 31 David Teniers, the Younger Lyman Mills, in Memory of Mr. and German, 1702 – 1762 Dutch, died 1678 Italian, Venetian, 1727 – 1804 Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift of Alfred Jaretzki, Jr., 1951.257 25 Mrs. Clement Scott by their children, Entombment Town Hall, Haarlem, 18 Andreas Held Unidentified Artist Flemish, 1610 – 1690 Landscape with a Watermill, The Building of the Trojan Horse, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1948.478 Mrs. H. K. Welch and Horace B. Clark, Oil on canvas c. 1671–91 German, 1661 – 1745 Northern Italian, maybe Cremona A Mass in a Grotto, c. 1645–50 Sumner Collection Fund, 1930.12 35 Benjamin West 1651 c. 1773–74 Mrs. Charles B. Wood, Hans Wriedt , The Ella Gallup Sumner and Mary Catlin Oil on panel or Milan Oil on canvas Dead Game Oil on canvas Oil on canvas Bequest of Warren H. Lowenhaupt, by #153 American, 1738 – 1820 Sumner Collection Fund, 1937.494 The Ella Gallup Sumner and Mary Catlin Gallery Fund, by exchange, 1991.3 23 Carlo Dolci Oil on canvas Fruit Stall, 1601 The Ella Gallup Sumner and Mary Catlin The Ella Gallup Sumner and Mary Catlin exchange. And, The Ella Gallup Sumner The Raising of Lazarus, 1780 Sumner Collection Fund, 1947.363 Bequest of Mrs. Gurdon W. Russell, Oil on canvas Sumner Collection Fund, 1970.34 Sumner Collection Fund, 1950.658 and Mary Catlin Sumner Collection Italian, 1616 – 1687 Oil on canvas 5 Jean Tassel 32 Attributed to Johan Richter 29 Unidentified Artist 1921.351 The Ella Gallup Sumner and Mary Catlin Fund, the Douglas Tracy Smith and St. Sebastian Gift of J. Pierpont Morgan, 1900.3 French, 1608 – 1667 12 Philips Wouwerman Swedish, worked in Venice, 5 12 Italian, possibly Tuscan School Sumner Collection Fund, 1939.210 John Singleton Copley Alessandro Magnasco Dorothy Potter Smith Fund, and the Oil on canvas Dutch, 1619 – 1668 Virgin and Child, 1650s 19 Jacobus Vrel 1665 – 1745 American, 1738 – 1815 Italian, Genoa, 1667 – 1749 Evelyn Bonar Storrs Trust Fund, 1996.26.1 The Ella Gallup Sumner and Mary Catlin View of Pisa, c. 1770 36 Workshop of Oil on canvas A Man on Horseback, c. 1650 Dutch, active c. 1654 – c. 1670 26 Didier Barra Feast of Santa Maria della Salute, Samuel Relating to Eli Presentation in the Temple Sumner Collection Fund, 1937.468 Oil on canvas Evaristo Baschenis The Ella Gallup Sumner and Mary Catlin Oil on panel Street Scene French, c. 1590 – after 1652 c. 1720 the Judgments of God upon Oil on canvas 18 Thomas Lawrence The Ella Gallup Sumner and Mary Catlin Italian, 1617 – 1677 24 Sumner Collection Fund, 1962.7 The Ella Gallup Sumner and Mary Catlin Oil on panel View of Naples, 1647 Oil on canvas Eli’s House, 1780 The Ella Gallup Sumner and Mary Catlin English, 1769 – 1830 Gregorio Lazzarini Sumner Collection Fund, 1947.362 Still Life with Musical Sumner Collection Fund, 1968.13 The Ella Gallup Sumner and Mary Catlin Oil on canvas The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1937.471 Portrait of Benjamin West, Italian, 1655 – 1730 6 Oil on canvas 30 Instruments, c. 1625–75 School of Jusepe de Ribera The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1939.268 Giuseppe Pierotti Sumner Collection Fund, 1937.489 The Ella Gallup Sumner and Mary Catlin c.
Load more

Recommended publications
  • Il Tempo Di Caravaggio. Capolavori Della Collezione
    COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca.
    [Show full text]
  • London and Middlesex in the 1660S Introduction: the Early Modern
    London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian.
    [Show full text]
  • Female Wits” Controversy: Gender, Genre, and Printed Plays, 1670–16991
    Plotting the “Female Wits” Controversy: Gender, Genre, and Printed Plays, 1670–16991 Mattie Burkert Utah State University [email protected] At the end of the 1694–95 theatrical season, a group of actors defected from the United Company, housed at the Theatre Royal in Drury Lane, to begin their own cooperative. The split of London’s theatrical monopoly into two rival playhouses—Christopher Rich’s “Patent Company” at Drury Lane and Thomas Betterton’s “Actors’ Company” at Lincoln’s Inn Fields—generated demand for new plays that might help either house gain the advantage. This situation cre- ated opportunities for novice writers, including an unprecedented number of women. Paula Backscheider has calculated that more than one-third of the new plays in the 1695–96 season were written by, or adapted from work by, women, including Delarivier Manley, Catherine Trotter, and Mary Pix (1993, 71). This group quickly became the target of a satirical backstage drama, The Female Wits: or, the Triumvirate of Poets at Rehearsal, modeled after George Vil- liers’s 1671 sendup of John Dryden, The Rehearsal. The satire, which was likely performed at Drury Lane in fall 1696, was partially the Patent Company’s re- venge on Manley for withdrawing her play The Royal Mischief during rehearsals the previous spring and taking it to Betterton. However, The Female Wits was also a broader attack on the pretensions of women writers, whom it portrayed as frivolous, self-important upstarts reviving the overblown heroic tragedy of the 1660s and 1670s with an additional layer of feminine sentimentality.2 1 This research was made possible by a grant from the Andrew W.
    [Show full text]
  • (King Philip's War), 1675-1676 Dissertation Presented in Partial
    Connecticut Unscathed: Victory in The Great Narragansett War (King Philip’s War), 1675-1676 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Major Jason W. Warren, M.A. Graduate Program in History The Ohio State University 2011 Dissertation Committee: John F. Guilmartin Jr., Advisor Alan Gallay, Kristen Gremillion Peter Mansoor, Geoffrey Parker Copyright by Jason W. Warren 2011 Abstract King Philip’s War (1675-1676) was one of the bloodiest per capita in American history. Although hostile native groups damaged much of New England, Connecticut emerged unscathed from the conflict. Connecticut’s role has been obscured by historians’ focus on the disasters in the other colonies as well as a misplaced emphasis on “King Philip,” a chief sachem of the Wampanoag groups. Although Philip formed the initial hostile coalition and served as an important leader, he was later overshadowed by other sachems of stronger native groups such as the Narragansetts. Viewing the conflict through the lens of a ‘Great Narragansett War’ brings Connecticut’s role more clearly into focus, and indeed enables a more accurate narrative for the conflict. Connecticut achieved success where other colonies failed by establishing a policy of moderation towards the native groups living within its borders. This relationship set the stage for successful military operations. Local native groups, whether allied or neutral did not assist hostile Indians, denying them the critical intelligence necessary to coordinate attacks on Connecticut towns. The English colonists convinced allied Mohegan, Pequot, and Western Niantic warriors to support their military operations, giving Connecticut forces a decisive advantage in the field.
    [Show full text]
  • Ribera's Drunken Silenusand Saint Jerome
    99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14).
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience.
    [Show full text]
  • Of Painting and Seventeenth-Century
    Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special
    [Show full text]
  • GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque Anni Di Attività
    GALLERIA GIAMBLANCO GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività La GALLERIA GIAMBLANCO, fondata a Torino nel 1993 La Galleria Giamblanco di Torino festeggia da Deborah Lentini e Salvatore Giamblanco, da oltre venticinque anni offre ai suoi clienti dipinti di grandi maestri italiani e stranieri con questo catalogo i suoi primi venticinque anni dal Cinquecento al primo Novecento, attentamente selezionati per qualità e rilevanza storico-artistica, avvalendosi di attività, proponendo al pubblico un’ampia selezione della consulenza dei migliori studiosi. di dipinti dal XV al XIX secolo. Tra le opere più importanti si segnalano inediti di Nicolas Régnier, Mattia Preti, Joost van de Hamme, Venticinque anni di attività Gioacchino Assereto, Cesare e Francesco Fracanzano, Giacinto Brandi, Antonio Zanchi e di molti altri artisti di rilievo internazionale. Come di consueto è presentata anche una ricca selezione di autori piemontesi del Sette e dell’Ottocento, da Vittorio Amedeo Cignaroli a Enrico Gamba, tra cui i due bozzetti realizzati da Claudio Francesco Beaumont per l’arazzeria di corte sabauda, che vanno a completare la serie oggi conservata al Museo Civico di Palazzo Madama di Torino. Catalogo edito per la Galleria Giamblanco da 2017-2018 In copertina UMBERTO ALLEMANDI e 26,00 Daniel Seiter (Vienna, 1647 - Torino, 1705), «Diana e Orione», 1685 circa. GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività A CURA DI DEBORAH LENTINI E SALVATORE GIAMBLANCO CON LA COLLABORAZIONE DI Alberto Cottino Serena D’Italia Luca Fiorentino Simone Mattiello Anna Orlando Gianni Papi Francesco Petrucci Guendalina Serafinelli Nicola Spinosa Andrea Tomezzoli Denis Ton Catalogo edito per la Galleria Giamblanco da UMBERTO ALLEMANDI Galleria Giamblanco via Giovanni Giolitti 39, Torino tel.
    [Show full text]
  • Winter Dialogue-Final-2
    Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor
    [Show full text]
  • ARTEMISIA GENTILESCHI ARTEMISIA ARTEMISIA GENTILESCHI E Il Suo Tempo
    ARTEMISIA GENTILESCHI ARTEMISIA GENTILESCHI e il suo tempo Attraverso un arco temporale che va dal 1593 al 1653, questo volume svela gli aspetti più autentici di Artemisia Gentileschi, pittrice di raro talento e straordinaria personalità artistica. Trenta opere autografe – tra cui magnifici capolavori come l’Autoritratto come suonatrice di liuto del Wadsworth Atheneum di Hartford, la Giuditta decapita Oloferne del Museo di Capodimonte e l’Ester e As- suero del Metropolitan Museum di New York – offrono un’indagine sulla sua carriera e sulla sua progressiva ascesa che la vide affermarsi a Firenze (dal 1613 al 1620), Roma (dal 1620 al 1626), Venezia (dalla fine del 1626 al 1630) e, infine, a Napoli, dove visse fino alla morte. Per capire il ruolo di Artemisia Gentileschi nel panorama del Seicento, le sue opere sono messe a confronto con quelle di altri grandi protagonisti della sua epoca, come Cristofano Allori, Simon Vouet, Giovanni Baglione, Antiveduto Gramatica e Jusepe de Ribera. e il suo tempo Skira € 38,00 Artemisia Gentileschi e il suo tempo Roma, Palazzo Braschi 30 novembre 2016 - 7 maggio 2017 In copertina Artemisia Gentileschi, Giuditta che decapita Oloferne, 1620-1621 circa Firenze, Gallerie degli Uffizi, inv. 1597 Virginia Raggi Direzione Musei, Presidente e Capo Ufficio Stampa Albino Ruberti (cat. 28) Sindaca Ville e Parchi storici Amministratore Adele Della Sala Amministratore Delegato Claudio Parisi Presicce, Iole Siena Luca Bergamo Ufficio Stampa Roberta Biglino Art Director Direttore Marcello Francone Assessore alla Crescita
    [Show full text]
  • Evidence That Leonardo Da Vinci Had Strabismus
    Confidential: Embargoed Until 11:00 am ET, October 18, 2018. Do Not Distribute Research JAMA Ophthalmology | Brief Report Evidence That Leonardo da Vinci Had Strabismus Christopher W. Tyler, PhD, DSc Supplemental content IMPORTANCE Strabismus is a binocular vision disorder characterized by the partial or complete inability to maintain eye alignment on the object that is the target of fixation, usually accompanied by suppression of the deviating eye and consequent 2-dimensional monocular vision. This cue has been used to infer the presence of strabismus in a substantial number of famous artists. OBJECTIVE To provide evidence that Leonardo da Vinci had strabismus. DESIGN, SETTING, AND PARTICIPANTS In exotropia, the divergent eye alignment is typically manifested as an outward shift in the locations of the pupils within the eyelid aperture. The condition was assessed by fitting circles and ellipses to the pupils, irises, and eyelid apertures images identified as portraits of Leonardo da Vinci and measuring their relative positions. MAIN OUTCOMES AND MEASURES Geometric angle of alignment of depicted eyes. RESULTS This study assesses 6 candidate images, including 2 sculptures, 2 oil paintings, and 2 drawings. The mean relative alignments of the pupils in the eyelid apertures (where divergence is indicated by negative numbers) showed estimates of −13.2° in David,−8.6° in Salvator Mundi,−9.1° in Young John the Baptist,−12.5° in Young Warrior, 5.9° in Vitruvian Man, and −8.3° in an elderly self-portrait. These findings are consistent with exotropia (t5 = 2.69; P = .04, 2-tailed). Author Affiliation: Division of Optometry and Vision Sciences, School of Health Sciences, City CONCLUSIONS AND RELEVANCE The weight of converging evidence leads to the suggestion University of London, London, that da Vinci had intermittent exotropia with the resulting ability to switch to monocular United Kingdom.
    [Show full text]
  • COVER NOVEMBER Prova.Qxd
    52-54 Lucy Art March-Aprilcorr1_*FACE MANOPPELLO DEF.qxd 2/28/21 12:12 PM Page 52 OIfN B TooHksE, AErYt EaSn dO PFe oTpHle E BEHOLDERS n BY LUCY GORDAN (“The NIl eMwo nWdoor lNd”o)v bo y Giandomenico Tiepolo, from the Prado, Madrid. Below , bTyh eR eGmirlb irna na dt, fFroramm te he Royal Castle Museum, Warsaw affeo Barberini (1568-1644) became Pope Urban the help of Borromini, Bernini took over. The exterior, in - VIII on August 6, 1623. During his reign he ex - spired by the Colosseum and similar in appearance to the Mpanded papal territory by force of arms and advan - Palazzo Farnese, which had been constructed between 1541 tageous politicking and reformed church missions. But he and c. 1580, was completed in 1633. is certainly best remembered as a prominent patron of the When Urban VIII died, his successor Pamphili Pope In - arts on a grand scale. nocent X (r. 1644-1655) confiscated the Palazzo Barberini, Barberini funded many sculptures from Bernini: the but returned it in 1653. From then on it continued to remain first in c. 1617 the “Boy with a Dragon” and later, when the property of the Barberini family until 1949 when it was Pope, several portrait busts, but also numerous architectural bought by the Italian Government to become the art museum works including the building of the College of Propaganda it is today. But there was a problem: in 1934 the Barberinis Fide, the Fountain of the Triton in today’s Piazza Barberini, had rented a section of the building to the Army for its Offi - and the and the in St.
    [Show full text]