Old Master Paintings Wednesday 30 October 2013 at 1Pm Knightsbridge, London
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Incisori Itineranti Nell'area Veneta Nel Seicento. Dizionario Bio-Bibliografico
UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII Volume pubblicato con il contributo dell’Università di Verona nell’ambito del Prin 2008 Mobilità dei mestieri del libro in Italia tra il Quattrocento e il Seicento, Unità di Verona (responsabile: prof. Giancarlo Volpato) Le voci bio-bibliografiche sono state redatte da Luca Trevisan (M - Z) e Giulio Zavatta (A - L). Crediti fotografici: Biblioteca Panizzi (Reggio Emilia), figg. 1, 4, 5, 12 Luca Trevisan, figg. 8, 9, 11, 13, 14, 16 Giulio Zavatta, figg. 2, 3, 6, 7, 10, 15 Proprietà riservata © Copyright 2013, Università di Verona Impaginazione e stampa: Tipolitografia « La Grafica », Vago di Lavagno (Verona) ISBN 978-88-98513-25-3 Sommario 7 Giancarlo Volpato Una bella giornata con un pomeriggio felice 13 Giulio Zavatta Annotazioni sull’itineranza degli incisori del Seicento in area veneta 21 Luca Trevisan Appunti per l’incisione a Venezia nel XVII secolo: note di contesto 29 Dizionario bio-bibliografico 125 Iconografia 143 Bibliografia generale 151 Indice dei nomi Una bella giornata con un pomeriggio felice di Giancarlo Volpato Se Subiaco era stata l’aurora, Venezia fu l’alba dei libri a stampa: un’alba ra- diosa, splendente, ricca di straordinarie novità e che illuminò l’universo della cultura sino ad un mezzogiorno di grande fulgore, con un pomeriggio che s’avviò – lentamente e in un tempo piuttosto lungo – sino ad un tramonto con poca luce. -
The Marriage Contract in Fine Art
The Marriage Contract in Fine Art BENJAMIN A. TEMPLIN* I. INTRODUCTION ................................................................................ 45 II. THE ARTIST'S INTERPRETATION OF LAW ...................................... 52 III. THE ARNOLFINI MARRIAGE: CLANDESTINE MARRIAGE CEREMONY OR BETROTHAL CONTRACT? .............................. ........................ .. 59 IV. PRE-CONTRACTUAL SEX AND THE LAWYER AS PROBLEM SOLVER... 69 V. DOWRIES: FOR LOVE OR MONEY? ........................ ................ .. .. 77 VI. WILLIAM HOGARTH: SATIRIC INDICTMENT OF ARRANGED MARRIAGES ...................................................................................... 86 VII. GREUZE: THE CIVIL MARRIAGE CONTRACT .................................. 93 VIII.NINETEENTH AND TWENTIETH CENTURY COMPARISONS ................ 104 LX . C ONCLUSION ..................................................................................... 106 I. INTRODUCTION From the Middle Ages to the Enlightenment, several European and English artists produced paintings depicting the formation of a marriage contract.' The artwork usually portrays a couple-sometimes in love, some- * Associate Professor, Thomas Jefferson School of Law. For their valuable assis- tance, the author wishes to thank Susan Tiefenbrun, Chris Rideout, Kathryn Sampson, Carol Bast, Whitney Drechsler, Ellen Waldman, David Fortner, Sandy Contreas, Jane Larrington, Julie Kulas, Kara Shacket, and Dessa Kirk. The author also thanks the organizers of the Legal Writing Institute's 2008 Summer Writing Workshop -
AFAT-31-DEF.Pdf
AFAT UNIVERSITÀ DEGLI STUDI DI TRIESTE Dipartimento di Studi Umanistici AFAT Direttore Giuseppe Pavanello Comitato scientifico Massimo Bisson • Barbara Boccazzi Mazza • Enrica Cozzi • Alberto Craievich • Daniele D’Anza • Roberto De Feo • Massimo De Grassi • Simone Ferrari • Lorenzo Finocchi Ghersi • Matteo Gardonio • Ludovico Geymonat • Milijenko Jurkovic´ • Matej Klemencˇicˇ • Maurizio Lorber • Enrico Lucchese • Alessio Pasian • Jan-Christoph Rössler • Ferdinand Sˇerbelj • Valerio Terraroli • Andrea Tomezzoli • Denis Ton • Giovanni Carlo Federico Villa • Maria Walcher • Nicoletta Zanni I testi sono sottoposti all’esame del Comitato Scientifico e del Comitato dei Revisori Anonimi Distribuzione libraria Scripta edizioni [email protected] ISSN 1827-269X AFAT Rivista di Storia dell’arte fondata nel 1975 31(2012) scripta edizioni con il contributo di Presentazione Con l’abituale puntualità, pubblichiamo il to riconoscimento agli sforzi e agli apporti nuovo numero di AFAT 31, relativo al 2012, scientifici che in esse si riversano, tanto più rinnovato nella veste editoriale e nel comita- quando si è in presenza di Atenei di media to scientifico, anche con il proposito, come già dimensione. Il nostro più vivo ringraziamen- detto in passato, di ampliare ulteriormente il to alla Fondazione CRTrieste per il generoso raggio dei contributi. La rivista infatti, pur contributo che ha permesso la pubblicazione privilegiando tematiche legate all’ambito della rivista. territoriale consueto, vuole sempre più aprirsi Crediamo di aver fatto, ancora una volta, a interventi di studiosi che vogliono collabo- un lavoro degno di attenzione e, sfogliando rare, a vario titolo, con l’Ateneo triestino. il volume, ci si potrà rendere conto del buon Nel 2013 AFAT è stata inclusa dalla Con- livello dei testi qui editi, dal tardogotico al sulta Nazionale per la Storia dell’Arte nell’e- Novecento. -
The Age of Pleasure and Enlightenment European Art of the Eighteenth Century Increasingly Emphasized Civility, Elegance, Comfor
The Age of Pleasure and Enlightenment European art of the eighteenth century increasingly emphasized civility, elegance, comfort, and informality. During the first half of the century, the Rococo style of art and decoration, characterized by lightness, grace, playfulness, and intimacy, spread throughout Europe. Painters turned to lighthearted subjects, including inventive pastoral landscapes, scenic vistas of popular tourist sites, and genre subjects—scenes of everyday life. Mythology became a vehicle for the expression of pleasure rather than a means of revealing hidden truths. Porcelain and silver makers designed exuberant fantasies for use or as pure decoration to complement newly remodeled interiors conducive to entertainment and pleasure. As the century progressed, artists increasingly adopted more serious subject matter, often taken from classical history, and a simpler, less decorative style. This was the Age of Enlightenment, when writers and philosophers came to believe that moral, intellectual, and social reform was possible through the acquisition of knowledge and the power of reason. The Grand Tour, a means of personal enlightenment and an essential element of an upper-class education, was symbolic of this age of reason. The installation highlights the museum’s rich collection of eighteenth-century paintings and decorative arts. It is organized around four themes: Myth and Religion, Patrons and Collectors, Everyday Life, and The Natural World. These themes are common to art from different cultures and eras, and reveal connections among the many ways artists have visually expressed their cultural, spiritual, political, material, and social values. Myth and Religion Mythological and religious stories have been the subject of visual art throughout time. -
Renaissance Art and Architecture
Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy. -
Giovanni Gasparro: Revelations of the Human and the Holy by Richard Dellamorte
Giovanni Gasparro: Revelations of the Human and the Holy by Richard Dellamorte In terms of art, Italy could possibly be l’Antico ed il Nuovo Testamento e gli scritti dei santi the richest country in the world. Boasting many famous artists cattolici, Thomas Mann e la letteratura in genere, le altre from Giotto Di Bondone and Sandro Botticelli to Leonardo Da arti come il teatro e la musica, le opere di pittura e scultura Vinci and Masaccio, it seems fairly obvious that even today, del passato e contemporanee.” In addition to biblical there are artists exploring the depths of the extraordinary, scripture, Giovanni finds inspiration from literature, theatre, carving new frontiers in the world of art. In the last few music, and of course, art, past and present. However, months, I’d quickly become captivated and enamoured with Gasparro maintains that sensorial reality and nature prove the work of Italian artist, Giovanni Gasparro, and was lucky to be the main source of inspiration for him, stimulating his enough to speak with him about his work. creative and artistic muse. Born in Bari, Gasparro had aspirations of becoming an artist Delving deeper into the psyche of Gasparro, one can ever since he was a child, realizing a strong affinity for envision the vast recesses of Italian history and art, fusing brushes and crayons, putting them to paper. He spent hours this amalgamation of the spiritual and the aesthetic. admiring works by Gaspare Traversi and Michelangelo, and Gasparro says his interest lies in the impulses governing according to Giovanni, both living in such a culturally rich the human soul — “mi interessa indagare le pulsioni che country as Italy, and experiencing so much artistic influence agitano l’umano.” Many of Giovanni’s works depict naked, has helped shape him as an artist: “è stato determinante twisted bodies and intertwined limbs; one reoccurring il fatto che vivessi in Italia, fra capolavori assoluti di tutti i element of his art includes imagery of hands — sometimes tempi.” cascading several hands in gesture across the canvas, as if in movement. -
OLD MASTER PAINTINGS Wednesday 4 July 2018
OLD MASTER PAINTINGS Wednesday 4 July 2018 BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Brian Koetser Bun Boisseau Junior Specialist Consultant Junior Cataloguer, London London London – – – Mark Fisher Madalina Lazen Director, European Paintings, Senior Specialist, European Paintings Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant MacDougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. OLD MASTER -
Künstler-Inventare; Urkunden Zur Geschichte Der Holländischen
Digitized by the Internet Archive in 2010 with funding from University of Toronto http://www.archive.org/details/knstlerinventa05bred KUNSTLER-INVENTARE KÜNSTLER-INVENTARE URKUNDEN ZUR GESCHICHTE DER HOLLÄNDISCHEN KUNST DES XVPen^ XVIIten UND XVIIIten JAHRHUNDERTS HERAUSGEGEBEN VON Dr. A. BREDIUS UNTER MITWIRKUNG VON Dr. O. IIIRSCHMANN FÜNFTER TEIL MIT 7 ABBILDUNGEN UND 86 FACSIMILES HAAG MARTINUS NIJIIÜFF 1918 975684 , Inhalt. Seite Vorwort xi Die Nachlass-Versteigerung von Pieter Isaacsz. (Mit Urkunden über Isaac Isaacsz , Matheus van Hoven und Micliiel van de Sande) 1473 Inventar eines Verwandten von Hans van Ebelen (Evelen) 1490 Die Naclilass-Versteigerung von Jan Jansz .... 1494 Das Xachlass-Inventar des Vaters von Simon Root. (Mit Urkunden über Anthony Leemans und Nicolaes ' Lissant) . 1497 Bilderverkauf durch Abraham de Cooge. (Mit Urkunden über Adriaen Hansz Muj-lties) 1511 Das Xachlass-Inventar von Edo Quiter 1523 Inventar von Pieter Ykens 1528 Inventar und Xachlass-Inventar von Jan Blom |Pro- voost], (Mit Urkunden über Jan Pietersz Blom und Jan Huybertsz Blom) 1531 Das Nachlass-lnventar der Witwe von Philips le Petit. (Mit Urkunden über Alexander , Bernardus Philips und Niclaes le Petit und Lucas Verstratei)). 1549 Das Nachlass-lnventar von Willem Willemsz Swin- derwyck 1576 Das Xachlass-Inventar von" Jacob Loys 1588 Das Xachlass-Inventar von Hans van Londerseel . 1594 Inventar von Xicolaes de Bruyn 1599 Vlll — Seite Das Nachlass-Inventar von Maerten Adriaensz Balken- eynde. (]\Iit Urkunden über Floris van Schooten und Jacob Wynants) 1604 Das Nachlass-Inventar von Francois Verwilt. (Mit Urkunden über Adriaen Fransz) 1617 Das Nachlass-Inventar der Witwe von Abraham Verlinde. (Mit Urkunden über Willem Verlinde) . 1629 Das Nachlass-Inventar der Witwe von Crijn Hen- dricksz Volmarijn. -
Rodolfo Pallucchini
- ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte PRECISAZIONI ALLA R. GALLERIA ESTENSE UMEROSE sono le opere che attendono che i restauri e qualche parziale ripassatura N una determinazione critica ed attributiva di colore n~n lo hanno troppo modificato, alla R. Galleria Estense di Modena. Nel Cata per cui è legittimo ritenere che i caratteri logo dei dipinti, in preparazione, si darà conto della figura siano ancora quelli originari. per ciascun'opera S'erge il Reden delle particolari tore su di un pae questioni attribu saggio vario, sol tive e bibliografi cato a destra da che, sorte dopo la un corso d'acqua, magistrale pubbli che riflette l'az cazione diA. Ven zurro del cielo, po turi. 1) Qui si pren polato da borghi, de in esame un mura, castella, ed gruppo di pitture, a destra rialzato a non colla pretesa falde brune di ter di applicar etichet reno montuoso. te, ma per tentare Ampia è 1'atmo di determinare il sfera dello sfondo, , , linguaggio figura lmmersa m una tivo, cioè il valore luce solare pome e la qualità della ridiana, per via loro particolare dell'orizzonte te forma artistica. 2) nuto così basso; I. Un problema una vastità aerea attributivo, del e cosmica davvero quale si tenta la intesa attraverso risoluzione, è co la legge prospet stituito dalla tavo tica antonelliana, letta con il Cristo organizzatrice, in benedicente (n. 242) senso nnaSClmen (fig. 2), entrata in tale, delle aspira Galleria nell' ul- FIG. I - GIÀ A VIENNA, RACC. PRIVATA - ATTRIBUITO A B. MONTAGNA zioni pittoriche CRISTO BENEDICENTE timo quarto del dei veneti. -
Catalogue Abrégé Des Tableaux Et Des Sculptures Du Musée Royal De La
r r CATALOGUE ABREGE DES TABLEAUX ET DES SCULPTURES DU MUSEE ROYAL (Mauritshuis) A LA HAYE La Haye 1899 t 3» DES TABLEAUX ET DES SCULPTURES MUSÉE ROYAL DE LA HAYE (Mauritshuis) La Haye i s 99 Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/catalogueabregedOOmaur Le Musée est ouvert gratuitement : du i novembre au i mars, de io à 3 heures. „ 1 mars „ 1 juin, „ 10 „ 4 juin 1 „ 1 ,, septembre, ,, 10 ,, 5 ,, 1 1 ,, septembre ,, novembre, ,, 10 ,, 4 ,, Le dimanche et les jours fériés le Musée n’est ouvert qu’à partir de midi et demi. > INTRODUCTION. Le Mauritshuis, le bâtiment qui renferme le Cabinet Royal de Tableaux, a été construit de 1633 à 1644 par Pieter Post, archi- tecte à la Haye, d’après les plans de Jacob van Campen, depuis architecte de l’Hôtel de ville d’Amsterdam. Il tire son nom de son fondateur, le Comte (plus tard Prince) Jean Maurice de Nas- sau, Gouverneur du Brésil. Lorsque le Prince retourna dans sa patrie, l’édifice était à peu près terminé. Il le décora de nom- breuses oeuvres artistiques, entre autres de paysages peints au Brésil par Frans Post, en mémoire du séjour de ce prince dans l’Amérique méridionale. En 1660 le roi Charles II fut logé dans ce palais pendant le séjour qu’il fit à la Haye, en se rendant en Angleterre. Après la mort du prince Jean Maurice de Nassau, le 20 déc. 1679, le Mauritshuis passa en des mains étrangères et fut loué en 1685 aux Etats députés de la Hollande. -
Catalogue Designer: Laura Scivoli Exhibition Material Visual Design: He Zhao
Index Silent Narratives. Curatorial Concept - Mei Huang .................................................................................... 7 Silent Narratives: A Polyphony Of Stories And Journeys - Dr. Laia Manonelles Moner ................................... 20 Interview on the Exhibition Silent Narratives - Wang Hui ............................................................................. 24 Chinese Hall ............................................................................................................................. 33 Wu Guanzhen .......................................................................................................................... 35 Liu Jianhua ............................................................................................................................... 42 Wang Sishun ............................................................................................................................ 44 Shen Ruijun .............................................................................................................................. 50 Zong Ning ............................................................................................................................... 52 Ding Shiwei .............................................................................................................................. 56 European Hall ......................................................................................................................... 99 Yang Song .............................................................................................................................. -
Strategy and Identity in the Careers of Sixteenth Century Venetian Painters
the Road to Recognition Strategy and identity in the careers of sixteenth century Venetian painters Clim Wijnands / 4222385 / Master Thesis / dr. Bram de Klerck / 28-08-2017 Table of Contents Introduction 3 1. Vantage points 7 1.1 Theoretical framework 7 1.2 Consuming and social stratification in Renaissance Venice 13 1.3 Patronage in Renaissance Venice 18 2. Lorenzo Lotto: the wanderer 25 2.1 A promising start 27 2.2 Problems and solutions in Venice 34 2.3 Running to stand still 40 3. Giovanni Antonio da Pordenone: the embodiment of the new 49 3.1 From provincial artist to recognised master 51 3.2 Establishing a foothold 60 3.3 The conquest of Venice 64 4. Gerolamo Savoldo: the original avant-garde 69 4.1 Fashioning a marketable identity 71 4.2 Breakthrough and oblivion 77 Conclusion 86 Bibliography 90 Figures 95 Appendices 110 2 Introduction Art history has always had the tendency to focus on the accomplished painters at the top of the artistic food chain. In reality, however, many talented painters struggled immensely to reach that top, while an even larger number of mediocre painters could only dream of fame and glory. This research is not primarily concerned with the elite artists, nor does it cover the many anonymous painter-craftsmen in the periphery of the art market. Instead, it is devoted to the middle group of ambitious and skilled artists trying to break out of the margins of the art world. Sixteenth-century Venice was a city with an abundance of churches, scuole and palaces, and was governed by a culturally sophisticated elite.