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Exhibition Checklist: a Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022
UPDATED: 8/11/2020 10:45:10 AM Exhibition Checklist: A Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022 The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings National Gallery of Art; Piero Boccardo, superintendent of collections for the City of Genoa; and Franco Boggero, director of historic and artistic heritage at the Soprintendenza Archeologia, Belle Arti e Paesaggio, Genoa. The exhibition is organized by the National Gallery of Art, Washington, and the Scuderie del Quirinale, Rome, with special cooperation from the City and Museums of Genoa. The exhibition is made possible by the Robert Lehman Foundation. Additional funding is provided by The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Press Release: https://www.nga.gov/press/exh/5051.html Order Press Images: https://www.nga.gov/press/exh/5051/images.html Press Contact: Laurie Tylec, (202) 842-6355 or [email protected] Object ID: 5051-345 Valerio Castello David Offering the Head of Goliath to King Saul, 1640/1645 red chalk on laid paper overall: 28.6 x 25.8 cm (11 1/4 x 10 3/16 in.) National Gallery of Art, Washington, Rosenwald Collection Object ID: 5051-315 Giovanni Benedetto Castiglione The Genius of Castiglione, before 1648 etching plate: 37 x 24.6 cm (14 9/16 x 9 11/16 in.) sheet: 37.3 x 25 cm (14 11/16 x 9 13/16 in.) National Gallery of Art, Washington, Gift of Ruth B. -
Genoa and Its Treasures
Comune di Genova - Ufficio sviluppo e Promozione del Turismo Palazzo delle Torrette - Via Garibaldi, 12r [email protected] www.genova-turismo.it Tourist Information Centres (T.I.C.) IAT Via Garibaldi Useful info: Via Garibaldi 12r Ph. +39 010 55 72 903/ 751 Genoa Aquarium Fax +39 010 55 72 414 www.acquariodigenova.it (7/7 - h. 9.00 - 18.30) C. Colombo Airport [email protected] Ph. +39 010 60 151 - www.airport.genova.it IAT De Ferrari City sightseeing open top bus Largo Pertini 13 Genova in Tour Pesci Viaggi Ph. +39 010 86 06 122 Ph. +39 010 53 05 237 - Mobile +39 328 98 55 419 Fax +39 010 86 06 476 www.pesciviaggi.it (7/7 - h. 9.00 - 13.00 / 14.30 - 18.30) [email protected] Hop-on hop-off city tour CITYSIGHTSEEING GENOVA IAT C. Colombo Airport (arrivals area) Ph. +39 010 86 91 632 Genova - Sestri Ponente www.genova.city-sightseeing.it Ph./Fax +39 010 60 15 247 (7/7 - h. 9.00 - 13.00 / 13.30 - 17.30) Genoa Museums [email protected] www.museidigenova.it - www.rolliestradenuove.it Radio Taxi Walking guided tour to the historical centre Ph. +39 010 5966 - www.cooptaxige.it and the Palazzi dei Rolli, UNESCO World Heritage Visit of the city with little train Every weekend you can visit the historical city Trenino Pippo centre and discover the fascination of some of Ph. +39 328 69 42 944 - www.treninopippo.it the famous Palazzi dei Rolli. Trains More information about costs and languages Ph. -
Domenico Piola and His Drawings
DOMENICO PIOLA AND HIS DRAWINGS: A STUDY OF HIS FRESCO PREPARATIONS By TESSA MARIECHEN TER HORST Bachelor of Arts, 2017 University of Denver Denver, CO Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 DOMENICO PIOLA AND HIS DRAWINGS: A STUDY OF HIS FRESCO PREPARATIONS Thesis Approved: Major Professor, Dr. Babette Bohn, Professor of Art History Dr. Jessica Fripp, Assistant Professor of Art History Dr. Nancy Edwards, Curator of European Art, Kimbell Art Museum Dr. Joseph Butler, Associate Dean, College of Fine Arts ii iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my primary thesis advisor, Dr. Babette Bohn, for her support and guidance through the thesis process. I also want to thank my other thesis committee members, Dr. Jessica Fripp and Dr. Nancy Edwards, whose expertise and advice greatly enhanced my thesis. I would like to thank the staff of the Palazzo Rosso, the British Museum, the Victoria and Albert Museum, the Blanton Museum of Art, and the Morgan Library for aiding my primary research at their collections. A special thanks to Dr. Margherita Priarone at Palazzo Rosso for kindly directing me through their collection- Grazie! I would like to express my gratitude to Dr. Lori Diel, Dr. Mark Thistlethwaite, and Dr. Frances Colpitt for their continued support throughout the program. Thank you to Edith Riley- Peinado, Taylor Day, and Hannah Plank in the Visual Resource Library for their constant encouragement and help with any issues, technological or otherwise. -
Caravaggio, Second Revised Edition
CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio. -
Washington Post EZ EE E5
sunday, february 2, 2020 . the washington post EZ EE E5 spring arts preview | exhibitions Musei di Strada Nuova, Palazzo Bianco, Genoa “The Prodigal Son Expelled From the Tavern” (1630/1635), by Cornelis de Wael, a Flemish artist whose series based on the story of the prodigal son will be on view at the exhibition. Baroque gems of Genoa National Gallery show spotlights works of artists attracted to the wealthy city in its golden age BY PHILIP KENNICOTT in Genoa, 1600-1750” will survey the golden “My elevator pitch for this was: This is the rugged-looking David will be on view along age of its banking wealth, when all the most spectacular early European art you don’t with Orazio Gentileschi’s erotically charged ander through the world, especial- conditions were right for it to become an know,” he says. It is as rich and exuberant as “Danae and the Shower of Gold.” ly the world of art and architec- artistic power as well as a financial one. other baroque styles, but it was driven by Genoa produced its own artists, some of ture, and Genoa keeps cropping “They are the sole bankers of the Holy reticent oligarchs competing among them- whom, like Bernardo Strozzi, worked outside up. Roman Empire,” says Jonathan Bober, senior selves. the city and became internationally re- WAt a 2016 exhibition of Anthony van Dyck’s curator of prints and drawings at the gallery. “Genoese baroque is as extravagant and nowned. But the exhibition promises an intro- portraits at the Frick Collection in New York Genoa, like Venice, was also a republic, and an spectacular as the Roman, but it is private,” he duction to local artists who remain relatively City, some of the most sumptuous work on oligarchy. -
Dynamic Doorways: Overdoor Sculpture in Renaissance Genoa
DYNAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA By ©2012 MADELINE ANN RISLOW Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Sally J. Cornelison, Ph.D. ________________________________ George L. Gorse, Ph.D. ________________________________ Steven A. Epstein, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Anthony Corbeill, Ph.D. Date Defended: 4/6/2012 The Dissertation Committee for Madeline Ann Rislow certifies that this is the approved version of the following dissertation: DYANAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA ________________________________ Chairperson Sally J. Cornelison, Ph.D. Date approved: 4/6/2012 ii Abstract Soprapporte—rectangular, overdoor lintels sculpted from marble or slate—were a prominent feature of both private residential and ecclesiastic portals in the Ligurian region in northwest Italy, and in particular its capital city Genoa, during the second half of the fifteenth and early sixteenth centuries. Sculpted site- or city-specific religious narratives occupy the centers of most soprapporte, and are typically framed with the coats of arms or the initials of their patrons. As this study demonstrates, soprapporte were not merely ornamental, for they acted as devotional objects and protective devices while connecting the citizens who commissioned them to -
Portrait of a Cook
NICCOLÒ CASSANA (VENISE, 1659 - LONDON, 1713) Oil on canvas, 54 5/16 x 47 5/8 in (138 x 121 cm) Siena, Castello di Certaldo, Counsellor Sannini collection. - Véronique Damian, Portrait de Michael Sweerts et acquisitions récentes, Paris, Galerie Canesso, 2006, pp. 24-27; - Raffaella Besta,in La cucina italiana. Cuoche a confronto , Piero Boccardo (ed.), cat. exh. Gênes, Musei di Strada – Palazzo Bianco, 27 March –19 July 2015, pp. 96 - 99, no. 13. 26 rue Laffitte, 75009 Paris Tel : + 33 1 40 22 61 71 e-mail : [email protected] http://www.canesso.art - La Cucina Italiana. Cuoche a confronto, Genoa, Musei di Strada Nuova – Palazzo Bianco, 27 March-19 July 2015, pp. 96 -99. Although Ratti, his biographer, reminds us that the artist was born in Venice in 1659, Niccolò Cassana retained a pictorial technique belying his Genoese origins (1). And indeed, the free, expressive style used to paint this astonishing Portrait of a Cook is reminiscent of the spirited art of Bernardo Strozzi (1581-1644), who had moved to Venice around 1632-1633, bringing with him Niccolò’s father, Giovanni Francesco (ca. 1620- 1690), himself a painter as well (2). Niccolò’s Genoese culture lies therefore in a family tradition, passed on to him when training under his father. Our artist truly began to consecrate himself to portraiture in 1683, at the age of 25, introducing himself to the Medici family by sending them his Self-Portrait (Florence, Uffizi Gallery). Giusto Sustermans (1597-1681), their official painter, had died two years before, and Cassana was hoping to attract the attention of Ferdinand de’ Medici (1663-1713), which did indeed come to pass several years later, the two having met in Venice in 1687. -
Undiscovered Cities Of
T HE M ETROPOLITAN M USEUM OF A RT u U NDISCOVERED C ITIES OF A RT u Genoa, Bologna & Ravenna u With Olivier Bernier u September 5 to 14, 2012 T HE M ETROPOLITAN M USEUM OF A RT Dear Members and Friends of The Metropolitan Museum of Art, Italy, for centuries, was not a country, but a congeries of city-states and principalities, each fiercely independent, each eager to establish its position by encouraging great art and architecture. Each city had to have its own cathedral, its own palaces, its own collections. Styles differed, colors changed, and invention was everywhere. To rediscover these smaller and delightfully diverse cities is to take the most enjoyable of trips into a glamorous past. The spring departure of “Undiscovered Cities” sold out quickly. We are pleased to offer this second, fall trip and delighted to be joined again by author and Metropolitan Museum lecturer, Olivier Bernier, who was instrumental in creating this remarkable new itinerary. An erudite speaker, he will greatly enrich our program with his insights. Genoa was, for centuries, Venice’s great rival. Its black and white marble cathedral, museum-palaces , and winding, charming streets are all as attractive as ever; and then there is Renzo Piano, whose redesign of the waterfront has made the city turn back to the sea from which it once gathered its fortunes. Bologna, for many centuries a papal possession, is justly famous for the excellence of its food. Home to the world’s oldest university as well as a grand cathedral, imposing piazzi, and museums, Bologna is an important cultural capital. -
The Library of Professor Leo Steinberg
The Library of Professor Leo Steinberg 4164 titles in ca. 4600 physical volumes INTRODUCTORY MATERIAL DICTIONARY OF ART HISTORIANS A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art Steinberg, Leo, né Zalman Lev Date born: July 9, 1920 Place Born: Moscow, Russia Date died: March 13, 2011 Place died: New York, NY Michelangelo- and modernist art historian; Benjamin Franklin professor of art at University of Pennsylvania, 1975- 1991. Steinberg was born in Moscow of German-Jewish parents (his mother was Anyuta Esselson [Steinberg], 1890- 1954) and his father, Isaac Nachman Steinberg (1888-1957), government figure and lawyer in revolutionary Russia. Lenin appointed Steinberg's father commissar of justice. His idealism, (he wanted to abolish the prison system, for example) forced the family into exile in Berlin, where the younger Steinberg grew up. After the rise of the Nazis in Germany, the family moved to London where Steinberg studied (studio) painting and sculpture at the Slade School in London from 1936 to 1940. After World War II he immigrated to New York working initially as a freelance writer and translator (including a holocaust account, Ashes and Fire, 1947). He also taught drawing at the Parsons School of Design. He studied art history at the Institute of Fine Arts, New York University, under Richard Krautheimer and Wolfgang Lotz, receiving his Ph.D., in 1960. His dissertation, written under Lotz, was on Borromini's San Carlo alle Quattro Fontane. In 1962 he an art editor for Life magazine married Dorothy Seiberling (later divorced). Between 1962-1975 Steinberg taught art history and life drawing at Hunter College, the City University of New York. -
Corpus Rubenianum Ludwig Burchard
CORPUS RUBENIANUM LUDWIG BURCHARD PART XXII HERBERT W. ROTT PALAZZI DI GENOVA ARCHITECTURAL DRAWINGS AND ENGRAVINGS VOLUME ONE CORPUS RUBENIANUM LUDWIG BURCHARD PART XXII (1) PALAZZI DI GENOVA HERBERT W. ROTT In 1622 Rubens published a splendid volume on Genoese Renaissance architecture, with precise engravings depicting façades and plans of a dozen villas and palaces, reproduced from the original architectural drawings which were in the master’s own collection. He followed this publication some time later with further editions to which he added plans and elevations of another twenty-three Genoese buildings. In publishing famous exam ples of ‘modern’ architecture, Rubens intended to trace the development of architecture in his own country and all over Europe. He believed that the true principles of good building, both aestheti cally and functionally, were discovered by the Ancients and rediscovered in Renaissance Italy. He published his book at the height o f his fame, and thus succeeded in presenting himself not only as a great painter, but also as a connoisseur and authoritative teacher in the field o f architecture. The present publication explains the history of Rubens’s book and analyses in detail his com ments and interpretations of the original plans. The illustrations show the engravings and original drawings in juxtaposition, and there are additional comparative illustrations in the Catalogue Raison né, reproducing photographs of the actual build ings as well as other later engravings and plans. Rubens regarded his volume of engravings as a collection of patterns for use by architects and patrons in his home country. But for us today it stands for much more: it throws light on Rubens’s concern for finding an artistic identity for the Southern Netherlands and moreover it offers us an aspect of Rubens’s personality not found else where in his art - his role as an editor. -
The Jobat the Bilbao Fine Arts Museum
The Job at the Bilbao Fine Arts Museum New ideas and recently identified paintings by the young Piola Anna Orlando This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Arti Doria Pamphilj, Genova: fig. 2 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1 and 10 © Collezione Koelliker, Milano: figs. 4 and 5 © Galleria Palazzo Bianco, Genova: fig. 3 © Oratorio della Morte e Orazione, Genova: fig. 13 © Oratorio di San Giacomo Della Marina, Genova: fig. 7 © Reinisches Bildarchiv, Köln: figs. 11 and 12 © RMN / Thierry Le Mage: fig. 14 © Wallraf-Richartz-Museum/Fondation Corboud, Köln: fig. 9 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 125-144. Sponsored by: painting of Job, by Piovera (Piola)” figures in the list of the assets of the late Gio1. Stefano Perrazo “A auctioned in Genoa in July 16682. A review of the original document, still kept in the State Archive in Genoa, which is where the above quote comes from, fills in some of the gaps in our knowledge of this painting and leads us to conclude that it coin- cides credibly with the painting now in the Bilbao Fine Arts Museum3. -
A Superb Baroque: Art in Genoa, 1600–1750 Sep 26, 2021–Jan 9, 2022 (CANCELED)
Sixth Street and Constitution Avenue NW, Washington, DC | nga.gov Mailing address: 2000 South Club Drive, Landover, MD 20785 Updated 8/19/2021 at 1:45:36 PM A Superb Baroque: Art in Genoa, 1600–1750 Sep 26, 2021–Jan 9, 2022 (CANCELED) Press Release: https://www.nga.gov/press/exhibitions/exhibitions-2020/5051.html Order Press Images: https://www.nga.gov/press/exhibitions/exhibitions-2020/5051/images.html Press Contact: Laurie Tylec phone: (202) 842-6355 e-mail: [email protected] Object ID: 5051-254 Bartolomeo Guidobono Seated Sibyl, c. 1690 brush and brown, blue, and gray ink over black chalk and graphite, heightened with white on laid paper overall: 39.2 x 26.8 cm (15 7/16 x 10 9/16 in.) framed: 62.23 x 46.99 cm (24 1/2 x 18 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Object ID: 5051-367 Carlo Antonio Tavella The Rest on the Flight into Egypt, c. 1720 pen and brown ink and brush and brown wash, heightened with white, on laid paper sheet: 39 x 29.9 cm (15 3/8 x 11 3/4 in.) mount: 40.5 x 31.1 cm (15 15/16 x 12 1/4 in.) framed: 59.69 x 44.45 cm (23 1/2 x 17 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Object ID: 5051-368 Giovanni Andrea Podesta Bacchanal with Altar, Faun, and Silenus, 1640 etching on laid paper sheet: 26.6 x 39.3 cm (10 1/2 x 15 1/2 in.) framed: 44.45 x 59.69 cm (17 1/2 x 23 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Object ID: 5051-230 Giovanni Benedetto Castiglione Bearded Man with Shadowed Face, Wearing a Scarf and a Plumed Hat, 1645/1650 etching on laid paper plate: 18.1 x 14.6 cm (7 1/8 x 5 3/4 in.) sheet: 31.6 x 23 cm (12 7/16 x 9 1/16 in.) framed: 40.01 x 32.39 cm (15 3/4 x 12 3/4 in.) National Gallery of Art, Washington, Florian Carr Fund 1 A Superb Baroque: Art in Genoa, 1600–1750 Object ID: 5051-231 Giovanni Benedetto Castiglione Self-Portrait(?), Wearing a Plumed Cap ["Portrait of Bernini"], c.