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Adam Elsheimer Oil Paintings Adam Elsheimer [German artist, 1578-1610] The burning of Troy oil on canvas, 49457-Adam Elsheimer-The burning of Troy.jpg Oil Painting ID: 49457 | Order the painting The Exaltation of the Cross from the Frankfurt Tabernacle oil on canvas, 49458-Adam Elsheimer-The Exaltation of the Cross from the Frankfurt Tabernacle.jpg Oil Painting ID: 49458 | Order the painting The Flight into Egypt oil on canvas, 49459-Adam Elsheimer-The Flight into Egypt.jpg Oil Painting ID: 49459 | Order the painting christ blessing the children lucas the younger cranach oil on canvas, 49460-Adam Elsheimer-christ blessing the children lucas the younger cranach.jpg Oil Painting ID: 49460 | Order the painting Landscape showing the Temple of Vesta in Tivoli oil on canvas, 49461-Adam Elsheimer--Unknown.jpg Oil Painting ID: 49461 | Order the painting Total 2 pages, 2/2 | Page : 1 [2] Adam Elsheimer (Nationality : German artist, 1578-1610) Adam Elsheimer (18 March 1578 - 11 December 1610) was a German artist working in Rome who died at only thirty-two, but was very influential in the early 17th century. His relatively few paintings were small scale, nearly all painted on copper plates, of the type often known as cabinet paintings. They include a variety of light effects, and an innovative treatment of landscape. He was an influence on many other artists, including Rembrandt and Peter Paul Rubens. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. 1/2 Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-1034-2.html 2/2.

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Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen.
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ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before
PAUL BRIL (Antwerp c. 1554 – 1626 Rome) A Landscape with a Hunting Party and Roman Ruins On canvas, 27¾ x 38 ¾ ins. (70.5 x 98.4 cm) Provenance: The Duke of Sutherland, Dunrobin Castle, by 1921 By whom sold, Christie’s, London, 29 November 1957, lot 31 Where purchased by Thos. Agnew & Sons, London Denys Sutton (1917-1991), London Thence by descent to the previous owner Exhibited: Thos. Agnew & Sons Ltd., London, 1958 Ideal & Classical Landscape, National Museum of Wales, Cardiff, 6 February – 3 April 1960, cat. no. 18 L’Ideale classico del Seicento in Italia e la pittura di paesaggio, Bologna, 8 September – 11 November, 1962, cat. no. 124 Literature: The Duke of Sutherland, Dunrobin Castle Catalogue, 1921, no. 253 Art News, April 1958, vol. 57, no. 2, p. 4 (reproduced) F. Cappelletti, Paul Bril, et la pittura di paesaggio a Roma 1580- 1630, Rome, 2005, p. 304, cat. no. 166 (reproduced) Note: We are grateful to Drs. Luuk Pijl for confirming the attribution to Bril, based on photographs. Drs. Pijl dates the work to between 1617-1620 and will include it in his forthcoming catalogue raisonné of Paul Bril’s paintings. VP4601 Paul Bril trained in Antwerp before making his way to Italy sometime before 1582. In Rome, he joined his older brother Matthijs (c. 1550-83), who was already established in the employment of Pope Gregory XIII, producing fresco decorations for the Vatican. Initially, Paul assisted his brother, but after Matthijs’s premature death in 1583, he assumed responsibility for the papal commissions both in the Vatican and in various churches and villas in and around Rome.
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Science in Culture: a Miracle in Sight
BOOKS & ARTS NATURE|Vol 443|21 September 2006 attempts to address larger themes, however, men — “doctors were determined no scientific Perspective (Harvard University Press, 1986). things do not always go so well. Frequently he discovery would alter their traditional thera- His global characterization of the state of medi- points to missed opportunities to exploit the pies of bleeding, purging, and vomiting” — are cal history strikes me as woefully wide of the implications of technical advances and key crude and unsatisfying. He claims that medical mark — the subtle relationship between sci- discoveries. He cites as examples the long hia- historians have glorified the link between the ence and medicine requires a far deeper under- tus between the discovery of bacteria and the laboratory and advances in basic science but standing than anything on offer here. And his link to infectious disease, and the shorter but overlooked the fact that these discoveries led to assertion that the history of modern medicine still significant gap between the first observa- no immediate therapeutic advance. But this is can be reduced to a paean to scientific progress tions of the antibacterial effects of Penicillium simply false, as would be made clear by a quick is a recipe for bad scholarship, of which there is moulds in the 1870s and Florey’s development perusal of such sources as William Bynum’s already far too much in the world. ■ of a therapy that worked in the 1940s. Science and the Practice of Medicine in the Nine- Andrew Scull is in the Department of Sociology, But Wootton’s attempts to blame these fail- teenth Century (Cambridge University Press, University of California, San Diego, 9500 Gilman ures on the blinkered self-interest of medical 1994) or John Harley Warner’s The Therapeutic Drive, La Jolla, California 92093-0533, USA.
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A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium. Bethany Ann Carter-Kneff East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Carter-Kneff, Bethany Ann, "A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium." (2004). Electronic Theses and Dissertations. Paper 885. https://dc.etsu.edu/etd/885 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium _______________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Printmaking _______________ by Bethany Ann Carter-Kneff May 2004 _______________ Ralph Slatton, Chair Peter Pawlowicz Mark Russell Keywords: Rembrandt, Printmaking ABSTRACT A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium by Bethany Ann Carter-Kneff Rembrandt’s influence on the medium of printmaking can only be explained through his methodology in the production of his images.
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The National Gallery Review of The
TH E April – March NATIONAL GALLEY NATG028_P0001EDngReview2012_13August.indd 1 14/08/2012 14:22 NATG028_P0002EDngReview2012_21August.indd 2 21/08/2012 09:43 TH E NATIONAL GALLEY April – March NATG028_P0002EDngReview2012_21August.indd 3 21/08/2012 09:43 Contents Introduction 5 Director’s Foreword 6 Sir Denis Mahon (1910–2011) 7 Acquisitions 12 Loans 18 Conservation 28 Framing 34 Exhibitions and Displays 38 Education 50 Scientiﬁ c Research 54 Research and Publications 58 Private Support of the Gallery 62 Trustees and Committees of the National Gallery Board 66 Financial Information 66 National Gallery Company Ltd 68 Cracks and Age in Paintings 70 For a full list of loans, staff publications and external commitments between April 2011 and March 2012, see www.nationalgallery.org.uk/about-us/organisation/ annual-review NATG028_P0004EDngReview2012_13August.indd 4 14/08/2012 14:26 – – will be remembered as a historic year for followed by donations to the National Gallery the National Gallery, and not least as the year in from many of our major supporters, whose which we enjoyed our most successful exhibition generosity is acknowledged elsewhere in this to date, in the form of Leonardo da Vinci: Painter at Review. We also acknowledge with thanks the the Court of Milan. The exhibition, which brought contribution of the Duke of Sutherland, who together for the ﬁ rst time Leonardo’s two versions agreed to a reduction in the originally agreed of his great masterpiece The Virgin of the Rocks and price, to make the purchase possible. received almost universal critical acclaim, saw the In order to secure the acquisition, the National public queuing for admittance in Trafalgar Square Gallery Board took the wholly unprecedented step from the early hours of the morning.
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Adam Elsheimer, the Stoning of Saint Stephen
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Adam Elsheimer, The Stoning of Saint Stephen David R. Marshall 11 / 12 March 2015 Lecture summary: Adam Elsheimer (1578-1610) is not a household name but deserves to be. A near contemporary of Caravaggio, he was almost as influential; painters like Rubens were blown away by his paintings. A specialist in small paintings on copper, which are quite extraordinary in their brilliance, with his German background and Venetian experiences be brought a whole new approach to painting in the artistic ferment of Rome in the first decade of the seventeenth century. This lecture begins by asking how we might respond to this work, before moving on to unpack the sources and distinctive nature of his approach and interpretation of subject matter. It concludes by discussing his distinctive contribution to the transformation of landscape painting in these years, without which the art of Claude Lorrain would not have been possible. Slide list: 1. Adam Elsheimer, The Stoning of St Stephen, about 1603-04. Oil on silvered copper, 34.7 x 28.6 cm. Edinburgh, National Gallery of Scotland. 2. Elsheimer, Apollo and Coronis, c.1607. Copper, 17.4 x 21.6 cm. Walker Art Gallery, Liverpool. 3. Copy by Jobst Harrach of Albrecht Dürer, Assumption of the Virgin (The Heller Altarpiece).Frankfurt, Historisches Museum. Upper scenes in the side wings by Matthias Grünewald. 4. Adam Elsheimer, The Witch. Copper, 13.5 x 9.8 cm. Hampton Court. 5. Adam Elsheimer, Saint Elizabeth Tending the Sick, before 1597.
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Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
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1 Caravaggio and a Neuroarthistory Of
CARAVAGGIO AND A NEUROARTHISTORY OF ENGAGEMENT Kajsa Berg A thesis submitted in fulfilment of the requirements For the degree of Doctor of Philosophy University of East Anglia September 2009 © This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior written consent. 1 Abstract ABSTRACT John Onians, David Freedberg and Norman Bryson have all suggested that neuroscience may be particularly useful in examining emotional responses to art. This thesis presents a neuroarthistorical approach to viewer engagement in order to examine Caravaggio’s paintings and the responses of early-seventeenth-century viewers in Rome. Data concerning mirror neurons suggests that people engaged empathetically with Caravaggio’s paintings because of his innovative use of movement. While spiritual exercises have been connected to Caravaggio’s interpretation of subject matter, knowledge about neural plasticity (how the brain changes as a result of experience and training), indicates that people who continually practiced these exercises would be more susceptible to emotionally engaging imagery. The thesis develops Baxandall’s concept of the ‘period eye’ in order to demonstrate that neuroscience is useful in context specific art-historical queries. Applying data concerning the ‘contextual brain’ facilitates the examination of both the cognitive skills and the emotional factors involved in viewer engagement. The skilful rendering of gestures and expressions was a part of the artist’s repertoire and Artemisia Gentileschi’s adaptation of the violent action emphasised in Caravaggio’s Judith Beheading Holofernes testifies to her engagement with his painting.
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April 2007 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................
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The Martyrdom of Saint Lawrence Signed with Initials 'C.P.F.' (Lower Right) Oil on Panel 35.5 X 58.4 Cm (14 X 23 In)
Cornelis van Poelenburch (Utrecht 1595 - Utrecht 1667) The Martyrdom of Saint Lawrence signed with initials 'C.P.F.' (lower right) oil on panel 35.5 x 58.4 cm (14 x 23 in) In this painting a large Roman crowd has gathered to watch the execution of St Lawrence. The condemned man is being dragged violently by his hair into position on a gridiron, where he will soon be burnt to death. As if to emphasise this impending fate, a half naked figure is seen straining under the weight of a basket of coals. The crowd react in a variety of ways, from the mother trying to divert her child’s attention in the foreground, to the impassive official in blue and gold who monitors the scene. This throng of diverse colour and emotion are dwarfed by the towering Roman capriccio, in which the scene is set. St Lawrence was one of the seven deacons of Ancient Rome under Pope Sixtus II (d. 258), with particular responsibility for the Church’s treasury and for distributing alms among the poor. When Sixtus II died, Lawrence was ordered to surrender the Church’s wealth to the Roman authorities, but instead gave away as much as he could to the impoverished populace of the city. After three days he presented to a Roman prefect the poor, the crippled, the blind and the suffering, saying that these were the true treasures of the Church. This act of impudent defiance led directly to his martyrdom. The Martyrdom of Saint Lawrence is an early work of Cornelis van Poelenburch, painted during his stay in Italy, a visit which was to be the defining influence on the whole of his career.
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Old Master Paintings
Old Master Paintings Wednesday 3 July 2013 at 2pm New Bond Street, London Old Master Paintings | 1 2 | Bonhams Old Master Paintings | 1 2 | Bonhams Old Master Paintings Wednesday 3 July 2013, at 2pm New Bond Street, London Bonhams Enquiries International Director Customer Services 101 New Bond Street +44 (0) 20 7468 8307 David Dallas Monday to Friday 8.30am to 6pm London W1S 1SR [email protected] +44 (0) 20 7468 8336 +44 (0) 20 7447 7447 www.bonhams.com [email protected] Specialists Please see back of catalogue Viewing Andrew McKenzie Consultant for important notice to bidders Saturday 29 June 12noon to 5pm +44 (0) 20 7468 8261 Brian Koetser Sunday 30 June 11am to 5pm [email protected] Illustrations Monday 1 July 9am to 4.30pm Global Director, Front cover: 30 (detail) Tuesday 2 July 9am to 4.30pm Caroline Oliphant Picture Sales Back cover: 67 (detail) Wednesday 3 July 9am to 12pm +44 (0) 20 7468 8271 Jonathan Horwich Inside front cover: 58 & 64 (details) [email protected] +44 (0) 20 7468 8280 Inside back cover: 16 & 77 (details) Sale number: 20612 [email protected] Lisa Greaves Catalogue: £25 +44 (0) 20 7468 8325 [email protected] Bids +44 (0) 20 7447 7448 Carlotta Mascherpa +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8307 To bid via the internet please [email protected] visit www.bonhams.com Poppy Harvey-Jones Please note that bids should be +44 (0) 20 7468 8308 submitted no later than 24 hours [email protected] before the sale.
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The Artful Context of Rembrandt's Etching
Volume 5, Issue 2 (Summer 2013) Begging for Attention: The Artful Context of Rembrandt’s Etching “Beggar Seated on a Bank” Stephanie S. Dickey Recommended Citation: Stephanie Dickey, “Begging for Attention: The Artful Context of Rembrandt’s Etching “Beggar Seated on a Bank” JHNA 5:2 (Summer 2013), DOI:10.5092/jhna.2013.5.2.8 Available at https://jhna.org/articles/begging-for-attention-artful-context-rembrandts-etching- beggar-seated-on-a-bank/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 5:2 (Summer 2013) 1 BEGGING FOR ATTENTION: THE ARTFUL CONTEXT OF REMBRANDT’S ETCHING “BEGGAR SEATED ON A BANK” Stephanie S. Dickey Rembrandt’s representation of his own features in Beggar Seated on a Bank (etching, 1630) gains resonance in the context of a visual and literary tradition depicting “art impoverished” and reflects the artist’s struggle for recognition from patrons such as Stadhouder Frederik Hendrik at a pivotal moment in his early career. 10.5092/jhna.2013.5.2.8 1 wo figural motifs recur frequently in Rembrandt’s etchings of the 1630s: ragged peasants and the artist’s own startlingly expressive face. On a copperplate that he treated like a page from a sketchbook, these disparate subjects are juxtaposed.1 And in an etching of 1630, Tthey merge, as Rembrandt himself takes on the role of a hunched figure seated on a rocky hillock (fig.
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