Judgment of Solomon Painting by Matthias Stomer
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Sztuki Piękne)
Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historycznodokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
VNK Bibliografie 2019
V N K Bibliografie Beeldende kunst en kunstnijverheid 1550–1700 Samengesteld door Julia van Marissing BIBLIOGRAFIE 2019 VERENIGING VAN NEDERLANDSE KUNSTHISTORICI VERENIGING VAN Inleiding van Reinier Baarsen 2019 V N K Inhoud INLEIDING 4 Keramiek 48 VERANTWOORDING 6 Textiel en kostuum 52 Scheepsmodellen en wapens 55 ALGEMEEN 8 Algemeen 8 KUNST OP PAPIER 57 (Bestands-)catalogi 9 Cartografie 57 Cultuur, economie en kunstenaarschap 12 Portretten en genealogie 57 Geboorte, huwelijk, liefde, dood 15 Prentkunst en boeken 57 Historiografie 16 Tekeningen 62 Iconografie en Bijbelse voorstellingen 16 Verzamelingen 64 Kunsttheorie 18 Kunstenaars A-Z 64 Musea en verzamelingen 19 Religie 21 SCHILDERKUNST 73 Steden 21 Algemeen 73 Technische kunstgeschiedenis en conservering 22 Genreschilderkunst 76 Historieschilderkunst 78 SPECIAL: REMBRANDT 24 Portretkunst 79 BIBLIOGRAFIE 2019 Stadsgezichten, landschappen en marine schilderijen 82 BEELDHOUWKUNST 33 Stillevens 83 Technische kunstgeschiedenis 85 Algemeen 33 Kunstenaars A-Z 88 Kunstenaars A-Z 35 VERENIGING VAN NEDERLANDSE KUNSTHISTORICI VERENIGING VAN KUNSTNIJVERHEID 37 RECENSIES 111 Algemeen 37 Azië 38 AUTEURSLIJST 116 (Edele) metalen 40 Glas 43 Hout en meubelen 45 Interieur en monumenten 46 Juwelen 48 2 V N K BIBLIOGRAFIE 2019 VERENIGING VAN NEDERLANDSE KUNSTHISTORICI VERENIGING VAN 3 V N K Inleiding met het leven in die tijd in verband te brengen en zo bij eigentijdse ervaringen aan te sluiten, heeft geleid tot de nieuwe rubriek ‘Geboorte, huwelijk, liefde en dood’. Die is nog niet erg omvangrijk, maar tentoonstellingen als Emoties en De kunst van het lachen in het Reinier Baarsen Frans Halsmuseum, Liefde en lust: de kunst van Joachim Wtewael in Utrecht, en Werk, bid en bewonder in Dordrecht laten zien dat De voornaamste, zo niet enige reden om een bibliografie als van een trend mag worden gesproken. -
Gemälde Galerie Alte Meister Gemäldegalerie Alte Meister Gemäldegalerie Alte Gemälde Galerie Alte Meister
Museumsführer Museumsführer GEMÄLDE GALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE GEMÄLDE GALERIE ALTE MEISTER Herausgegeben von den Staatlichen Kunstsammlungen Dresden, Stephan Koja Stephan Koja Eine derart groß angelegte Sammeltätigkeit war möglich, weil das Kurfürsten tum Sachsen zu den wohlhabendsten Gebieten des Heiligen Römischen Reiches Deut- »Ich wurde ob der Masse des scher Nation gehörte. Reiche Vorkommen wertvoller Erze und Mineralien, die Lage am Schnittpunkt wichtiger Handelsstraßen Europas sowie ein ab dem 18. Jahrhun- Herrlichen so konfus« dert hochentwickeltes Manufakturwesen ermöglichten den Wohlstand des Landes. Die Dresdner Gemäldegalerie Neuordnung der Sammlungen unter August dem Starken 1707 ließ August der Starke die Gemäldesammlung aus den allgemeinen Beständen der Kunstkammer herauslösen und die besten Bilder in einem eigenen Raum im Schloss unterbringen. 1718 zogen sie weiter in den Redoutensaal, schließlich 1726 in den »Riesensaal« und dessen angrenzende Zimmer. Die übrigen Objekte der »Die königliche Galerie der Schildereien in Dresden enthält ohne Zweifel einen Kunstkammer bildeten den Grundstock für die anderen berühmten Sammlungen Schatz von Werken der größten Meister, der vielleicht alle Galerien in der Welt Dresdens wie das Grüne Gewölbe, die Porzellansammlung, das Kupferstich-Kabinett, übertrifft«, schrieb Johann Joachim Winckelmann 1755.1 Schon 1749 hatte er be- den Mathematisch-Physikalischen Salon oder die Skulpturensammlung. Denn schon eindruckt seinem Freund Konrad Friedrich Uden mitgeteilt: »Die Königl. Bilder um 1717 hatte August der Starke, wohl inspiriert durch dementsprechende Eindrü- Gallerie ist […] die schönste in der Welt.«2 cke auf Reisen, eine Funktionsskizze4 für die Aufteilung der Sammlung entworfen, In der zweiten Hälfte des 18. Jahrhunderts war die Dresdner Gemäldegalerie nach der das Sammlungsgut und nicht die historische Klassifizierung das Ordnungs- bereits ein Anziehungspunkt für Künstler, Intellektuelle und kulturaffine Reisende kriterium darstellte. -
List of Illustrations Plates P1
LIST OF ILLUSTRATIONS PLATES P1. I (frontispiece) retouched photograph: approximate reconstruction of the original state of Rembrandt's 'Anatomy of Dr. Nicolaes Tulp' (so called), 1632. London, Wellcome Institute. P1. 2 Rembrandt van Rijn, 'The anatomy (or "anatomy lesson"') of Dr. Nicolaes Tulp' (so called), oil painting, 1632, bears signature and date probably painted over autograph signature and date; with alterations by Rembrandt and more than one other hand. The Hague, Mauritshuis. P1. 3 Aert Pietersz., 'The anatomy (or "anatomy lesson") of Dr. Sebastiaen Egbertsz.' (so called), oil painting, signed with monogram and dated 1603. Amsterdam, Amsterdams Historisch Museum, currently exhibited at the Geschiedkundig Medisch-Pharmaceutisch Museum, Amsterdam. P1. 4 Michiel and Pieter van Miereveld, 'The anatomy (or "anatomy lesson") of Dr. Willem van der Meer' (so called), oil painting, signed and dated 1617. Delft, Oude en Nieuwe Gasthuis. P1. 5 Thomas de Keyser, 'The anatomy (or "anatomy lesson") of Dr. Sebastiaen Egbertsz.' (so called), oil painting, 1619. Amsterdam, Amsterdams Historisch Museum. P1. 6 Nicolaes Eliasz. (called Pickenoy), 'The anatomy (or "anatomy lesson") of Dr. Johan Fonteyn' (so called), oil painting, 1625. Central part (only surviv- ing fragment). Amsterdam, Amsterdams Historisch Museum. PI. 7 a demonstration of the anatomy of the upper limb at Grant medical college, Bombay, anonymous photograph, late nineteenth century. London, British Library (India Office Library and Archives). P1. 8 an anatomy at the Leiden anatomy-theatre, anonymous engraving, 1609, after a drawing by J. C. van 't Woudt (Woudanus). Amsterdam, Rijksprentenkabinet. P1. 9 dissection of the forearm. Detail from Rembrandt's so-called 'Anatomy of Dr. -
Les Espagnols a Montpellier
UNIVERSITE PAUL VALERY – MONTPELLIER 3 LES ESPAGNOLS A MONTPELLIER 13 œuvres du Musée Fabre : description, acquisition, attribution Flore DELATOUCHE sous la direction de M. Michel BOEGLIN Master 1 Etudes Culturelles, spécialité Espagnol Juin 2006 2 REMERCIEMENTS Je désire témoigner ma reconnaissance au Conservateur du Musée Fabre, M. Olivier Zeder, pour m’avoir permis de consulter les dossiers d’œuvres et catalogues du musée, ainsi que pour m’avoir accordé le privilège d’observer les œuvres qui m’ont intéressée, dans les réserves du musée. Je souhaite lui exprimer ma gratitude, ainsi qu’à M. Guillaume Assié, pour le don des reproductions des treize tableaux étudiés dans mon mémoire, le bon accueil dont chaque membre du Musé Fabre a fait preuve et le temps qu’ils m’ont octroyé. Merci également à M. Claude Basty et à Mme Haas, du centre de documentation, de m’avoir accompagnée dans mes recherches au sein du musée. Je tiens à remercier le service Patrimoine de la Médiathèque Centrale Emile Zola, les Archives municipales de Montpellier et ses archivistes, pour avoir pu accéder aux documents anciens en relations avec le Musée Fabre. De la même manière, je remercie le Service d'étude et de documentation du département de peintures espagnoles du Musée du Louvre, grâce auquel j’ai pu approfondir mes recherches. Enfin, j’émets un remerciement particulier à mon directeur de mémoire, M. Michel Boeglin, qui m’a suivie et conseillée tout au long de mes recherches et de la rédaction de ce mémoire de Master 1 Etudes Culturelles. 3 INTRODUCTION Le Musée Fabre de Montpellier rouvrira ses portes début 2007 ; la restauration des édifices, un réagencement interne de l’espace, au sein d’une superficie triplée, vont donner lieu à l’exposition d’un nombre plus important de tableaux. -
Encyklopédia Kresťanského Umenia Cár - Pozri Jurodiví/Blázni V Kristu; Rusko
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia cár - pozri jurodiví/blázni v Kristu; Rusko Georges Becker: Korunovácia cára Alexandra III. a cisárovnej Márie Fjodorovny Heslo CAR – CARI Strana 1 z 39 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia N. Nevrev: Roman Veľký prijíma veľvyslanca pápeža Innocenta III (1875) Cár kolokol - Expres: zvon z počiatku 17.st. odliaty na príkaz cára Borisa Godunova (1552-1605); mal 36 ton; bol zavesený v štvormetrovej výške a rozhojdávalo ho 12 ľudí; počas jedného z požiarov spadol a rozbil sa; roku 1654 z jeho ostatkov odlial ruský majster Danilo Danilov ešte väčší zvon; o rok neskoršie zvon praskol úderom srdca; ďalší nasledovník Cára kolokola bol odliaty v Kremli; 24 rokov videl na provizórnej konštrukcii; napokon sa našiel majster, ktorému trvalo deväť mesiacov, kým ho zdvihol na Uspenský chrám; tam zotrval do požiaru roku 1701, keď spadol a rozbil sa; dnešný Cár kolokol bol formovaný v roku 1734, ale odliaty až o rok neskoršie; plnenie formy kovom trvalo hodinu a štvrť a tavba trvala 36 hodín; keď roku 1737 vypukol v Moskve požiar, praskol zvon pri nerovnomernom ochladzovaní studenou vodou; trhliny sa rozšírili po mnohých miestach a jedna časť sa dokonca oddelila; iba tento úlomok váži 11,5 tony; celý zvon váži viac ako 200 ton a má výšku 6m 14cm; priemer v najširšej časti je 6,6m; v jeho materiáli sa okrem klasickej zvonoviny našli aj podiely zlata a striebra; viac ako 100 rokov ostal zvon v jame, v ktorej ho odliali; pred rokom 2000 poverili monumentalistu Zuraba Cereteliho odliatím nového Cára kolokola, ktorý mal odbiť vstup do nového milénia; myšlienka však nebola doteraz zrealizovaná Caracallove kúpele - pozri Rím http://referaty.atlas.sk/vseobecne-humanitne/kultura-a-umenie/48731/caracallove-kupele Heslo CAR – CARI Strana 2 z 39 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G. -
Aert Mytens, Louis Finson, Abraham Vinck, Hendrick De Somer and Matthias Stom M.G.C
Netherlandisch Immigrant Painters in Naples (1575-1654). Aert Mytens, Louis Finson, Abraham Vinck, Hendrick De Somer and Matthias Stom M.G.C. Osnabrugge SUMMARY The aim of this research is to chart and analyze the process of artistic and social integration of five painters from the Netherlands who settled in Naples: Aert Mytens, Louis Finson, Abraham Vinck, Hendrick De Somer and Matthias Stom. The mobility of artists is an important factor in the development of art. Early modern artists were remarkably mobile. Some of them settled in a new city for a considerable amount of time or even remained there for the rest of their career. The necessity to integrate and define a position within the new artistic and social context was much more pressing for these artists than for the many artists who returned to their home country after a relatively brief (study) sojourn. Depending on the available visual and documentary material – which differs greatly from artist to artist - I define different forms of social and professional interaction with compatriots and Neapolitans; I analyze their artistic production in Naples, the way in which they positioned themselves as artists in the Neapolitan art scene and the role played by local professional and religious institutions in their integration process. Naples was the second-largest city of Europe, a multicultural metropolis and capital of the Spanish Viceroyalty. During the last quarter of the sixteenth century, the Neapolitan art market expanded rapidly because of the ecclesiastical building activity and the increased presence of the nobility from the provinces in the capital. Netherlandish painters initially profited from the shortage of local painters to meet this augmented demand by painting altarpieces and gallery paintings in particular genres such as landscape painting and portraiture. -
Faq20200908.Pdf
PREGUNTAS MÁS FRECUENTES Índice 1. Preguntas más frecuentes referentes a HORARIO .................................................................... 3 1.1. ¿Cuál es el horario de apertura del Museo? ....................................................................... 3 1.2. ¿Hay horario de gratuidad? ............................................................................................... 3 1.3. ¿Cuál es el horario de taquilla? .......................................................................................... 3 1.4. ¿Cuál es el horario de la tienda? ........................................................................................ 3 1.5. ¿Cuál es el horario del Café Prado? ................................................................................... 3 2. Preguntas más frecuentes referentes a ENTRADAS y PRECIOS .............................................. 3 2.1. ¿Dónde se pueden adquirir las entradas al Museo? ........................................................... 3 2.2. ¿Cuál es el precio de las entradas? ..................................................................................... 4 2.3. ¿Dónde se recoge el ejemplar incluido en la entrada general + La Guía del Prado? ........... 4 2.4. ¿Qué entradas son válidas durante este periodo? ............................................................... 4 2.5. ¿Dónde pueden comprar sus entradas las personas con discapacidad? ............................. 4 2.6. ¿Dónde se realiza el canje de la Tarjeta anual de Museos Estatales y del ICOM? ............. -
Failla Cv Campusnet
MARIA BEATRICE FAILLA Professore Associato, L-ART/04 Università degli Studi di Torino Dipartimento di Studi Storici MAIL: [email protected] FORMAZIONE Dal 2018: professore associato nel settore disciplinare Museologia, Storia della Critica d’Arte e del Restauro. Dal 2006 al 2018: ricercatore a tempo indeterminato presso l’Università degli Studi di Torino nel settore disciplinare Museologia, Storia della Critica d’Arte e del Restauro. Abilitazione scientifica nazionale alla II fascia (DD n.22/2012) Ha conseguito la laurea in Lettere Moderne con indirizzo artistico nel 1998 presso l’Università degli Studi di Torino con una tesi in Storia della Critica d’Arte dal titolo Committenza e collezionismo del Principe Emanuele Filiberto di Savoia, Viceré di Sicilia dal 1622 al 1624, votazione 110/110 e lode; Nel 2004 ha ottenuto il Diploma di specializzazione in Storia dell’Arte Moderna presso l’Università degli Studi di Genova, con una tesi in Storia e Tecnica del Restauro dal titolo Cultura della della conservazione e del restauro delle collezioni sabaude tra spoliazioni giacobine e istituzione della Regia Pinacoteca, votazione 50/50 e lode. Nel 2006 ha conseguito il titolo di dottore di ricerca in Storia e Critica d’Arte presso il Dipartimento di Discipline Artistiche Musicali e dello Spettacolo dell’Università degli Studi di Torino, con una tesi progetto sugli allestimenti e l’incremento delle collezioni sabaude negli anni di Vittorio Amedeo I, duca dal 1630 al 1637. Maria Beatrice Failla [email protected] !1 di !10 ATTIVITA’ -
Journal 08 March 2021 Editorial Committee
JOURNAL 08 MARCH 2021 EDITORIAL COMMITTEE Stijn Alsteens International Head of Old Master Drawings, Patrick Lenaghan Curator of Prints and Photographs, The Hispanic Society of America, Christie’s. New York. Jaynie Anderson Professor Emeritus in Art History, The Patrice Marandel Former Chief Curator/Department Head of European Painting and JOURNAL 08 University of Melbourne. Sculpture, Los Angeles County Museum of Art. Charles Avery Art Historian specializing in European Jennifer Montagu Art Historian specializing in Italian Baroque. Sculpture, particularly Italian, French and English. Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London. Andrea Bacchi Director, Federico Zeri Foundation, Bologna. Larry Nichols William Hutton Senior Curator, European and American Painting and Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant Colin Bailey Director, Morgan Library and Museum, New York. Sculpture before 1900, Toledo Museum of Art, Ohio. pre-twentieth-century artworks in the European tradition that have recently come to light or about which new research is Piers Baker-Bates Visiting Honorary Associate in Art History, Tom Nickson Senior Lecturer in Medieval Art and Architecture, Courtauld Institute of Art, underway, as well as on the history of their collection. Texts about artworks should place them within the broader context The Open University. London. of the artist’s oeuvre, provide visual analysis and comparative images. Francesca Baldassari Professor, Università degli Studi di Padova. Gianni Papi Art Historian specializing in Caravaggio. Bonaventura Bassegoda Catedràtic, Universitat Autònoma de Edward Payne Assistant Professor in Art History, Aarhus University. Manuscripts may be sent at any time and will be reviewed by members of the journal’s Editorial Committee, composed of Barcelona. -
John Walker, Director of the National Gallery Of
SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON 25 DC • REpublic 7-4215 extension 247 For Release: Sunday papers November 6, 1960 WASHINGTON, D 0 C 0 November 5, 1960: John Walker, Director of the National Gallery of Art, announced today that the most important exhibition of French seventeenth century art ever presented in the United States will open to the public at the Gallery on Thursday, November 10,, The exhibition, entitled THE SPLENDID CENTURY, will be on view in Washington through December 15. 166 masterpieces - paintings, drawings, sculpture and tapes tries - the majority of which have never been shown in the United States, have been lent by more than 40 of the provincial museums of France, as well as 4 churches, the Musee du Louvre and the Chateau of Versailles,, The exhibition of THE SPLENDID CENTURY has been organized to illustrate the variety of painting in this great artistic period, which extended from the death of Henry IV in 1610 to the years just after the death of Louis XIV in 1715. It will also show the underlying unity of balance and restraint which appeal to modern taste It is only in the last 30 years s for instance, that the works of Georges de la Tour have suddenly received world acclaim after having been practically forgotten for several centuries, Five paintings by La Tour will be on view, including the famous canvas of The Young Jesus_and St, Joseph in the Carpenter's Shop. (more) - 2 - Six canvases of Nicolas Poussin are included in the exhibition. He is generally conceded to be France's greatest classical painter and the artist whose genius dominates the century.