DOCSLIB.ORG

Louis Gauffier's Portrait of Gustaf Mauritz Armfelt: a Political Or A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Louis Gauffier's Portrait of Gustaf Mauritz Armfelt: a Political Or A Louis Gauffier’s Portrait of Gustaf Mauritz Armfelt: A Political or a Conspiratorial Painting? j~Öåìë lä~ìëëçå ^ëëçÅá~íÉ mêçÑÉëëçêI aáêÉÅíçê çÑ `çääÉÅíáçåë ~åÇ íÜÉ pïÉÇáëÜ k~íáçå~ä mçêíê~áí d~ääÉêó Art Bulletin of Nationalmuseum Stockholm Volume OM Art Bulletin of Nationalmuseum, Stockholm, Picture Editor Every effort has been made by the publisher to is published with generous support from the Rikard Nordström credit organizations and individuals with regard Friends of the Nationalmuseum. to the supply of photographs. Please notify the Photo Credits publisher regarding corrections. The Nationalmuseum collaborates with © Herzog Anton Ulrich-Museum, Braunschweig Svenska Dagbladet, Fältman & Malmén (p. NQ ) Graphic Design and Grand Hôtel Stockholm. © The Gothenburg Museum of Art/Hossein BIGG Sehatlou (p. NU ) Items in the Acquisitions section are listed © Malmö Art Museum/Andreas Rasmusson Layout alphabetically by artists’ names, except in the case (p. OO ) Agneta Bervokk of applied arts items, which are listed in order of © Wildenstein & Co., Inc., New York (p. OV ) their inventory numbers. Measurements are in © RMN Grand Palais/Musée du Louvre, Translation and Language Editing centimetres – Height H, Breadth B, Depth D, Paris/Hervé Lewandowski (p. PMF Gabriella Berggren and Martin Naylor. Length L, Width W, and Diameter Diam. © The J. Paul Getty Museum, Los Angeles – except for those of drawings and prints, which (Fig. QI p. PN ) Publications are given in millimetres. © RMN Grand Palais/Musée du Louvre, Ingrid Lindell (Publications Manager), Paris/René-Gabriel Ojéda (Fig. RI p. PN ) Janna Herder (Editor). Cover Illustration © Guilhem Scherf (p. PO ) Alexander Roslin ( NTNU ÓNTVP ), The Artist and his © Bridgeman/Institute of Arts, Detroit (p. PP ) Art Bulletin of Nationalmuseum is published Wife Marie Suzanne Giroust Portraying Henrik © Musée des Arts décoratifs, Paris/Jean Tholance annually and contains articles on the history Wilhelm Peill, NTST . Oil on canvas, NPN ñ VUKR cm. (p. PQ ) and theory of art relating to the collections of Donated by the Friends of the Nationalmuseum, © RMN Grand Palais/Musée du Louvre, Paris the Nationalmuseum. Sophia Giesecke Fund, Axel Hirsch Fund (p. PR ) and Mr Stefan Persson and Mrs Denise Persson. © Accademia Nazionale di San Luca, Nationalmuseum Nationalmuseum, åã TNQNK Rome/Mauro Coen (Figs, SI NM and NO , Box NSNTS pp. NNQ ÓNNS ) ëÉ ÓNMP OQ Stockholm, Sweden Publisher © Mikael Traung (Fig. T, p. NNQ ) www.nationalmuseum.se Magdalena Gram © Stockholm City Museum (p. NOP ) © Nationalmuseum and the authors http://www.stockholmskallan.se/Soksida/Post/?n Editor id=319 ISSN OMMNJVOPU Janna Herder © Stockholm City Museum/Lennart af Petersens (p. NOQ ) Editorial Committee © http://www.genealogi.se/component/ Mikael Ahlund, Magdalena Gram, Janna Herder, mtree/soedermanland/eskilstuna/ Helena Kåberg and Magnus Olausson. a_zetherstroem_/22850?Itemid=604 (p. NOR ) © http://www.genealogi.se/component/ Photographs mtree/bohuslaen/marstrand/robert-dahlloefs- Natinalmuseum Photographic Studio/Linn atelier/22851?Itemid=604 (p. NOT ) Ahlgren, Erik Cornelius, Anna Danielsson, Cecilia Heisser, Bodil Karlsson, Per-Åke Persson, Sofia Persson and Hans Thorwid. Üáëíçêó ~åÇ íÜÉçêó çÑ ~êíLäçìáë Ö~ìÑÑáÉêÛë éçêíê~áí çÑ Öìëí~Ñ ã~ìêáíò ~êãÑÉäí Louis Gauffier’s Portrait of Gustaf Mauritz Armfelt: A Political or a Conspiratorial Painting? j~Öåìë lä~ìëëçå ^ëëçÅá~íÉ mêçÑÉëëçêI aáêÉÅíçê çÑ `çääÉÅíáçåë ~åÇ íÜÉ pïÉÇáëÜ k~íáçå~ä mçêíê~áí d~ääÉêó Louis Gauffier ( NTSO ÓNUMN ), Gustaf Mauritz Armfelt ( NTRTÓNUNQ ), NTVP . Oil on canvas, RM ñ SRKR cm. Nationalmuseum, åã OSRQK få ÅçååÉÅíáçå with Gustav III’s journey to the resort town he was the only person allowed to address the monarch using of Spa in NTUM , the young baron Gustaf Mauritz Armfelt the familiar du . He was a man of handsome looks, which served (NTRTÓNUNQ ) became the principal favourite in the immediate to reinforce a somewhat narcissistic disposition. According to circle of the king. Like Gustav’s former closest confidant, the the Duchess Hedvig Elisabet Charlotta, though, he was not en - crown equerry Adolf Fredrik Munck, Armfelt was a Finn, and tirely perfect: “Armfelt had a pleasant appearance, but no grace NNV Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP Üáëíçêó ~åÇ íÜÉçêó çÑ ~êíLäçìáë Ö~ìÑÑáÉêÛë éçêíê~áí çÑ Öìëí~Ñ ã~ìêáíò ~êãÑÉäí of figure – the head of an Apollo on an ungainly body, and legs spies for the regency government, including the secretary of lega - like an elephant’s, though he was very agile.” 1 For over a deca - tion, Claes Lagersvärd. 3 de, Armfelt was the most powerful individual at the court of In March NTVP , Armfelt presented his credentials to the pope Gustav III. He thus attracted the envy of many, as became clear in Rome. Florence was his next stop, in April, followed by Venice not least after the king’s death on OV March NTVO . Just before and finally Genoa in August. During this time Armfelt served as he died, Gustav seems to have realised that his brother, Duke host to Princess Sofia Albertina, who was touring Italy incognita as Charles, may have known of a conspiracy against him. He the - the Princess of Vasa. In July, moreover, he was reunited with his refore made a codicil to his will. Through this document, which wife and two children in Florence. has not been preserved, Gustav is said to have compelled his Armfelt used his tour of Italy as an opportunity to establish im - brother, as regent, to retain the provisional government he es - portant political contacts, in particular with Russian and British tablished in the days immediately following the attack on him diplomats. He had already written to the Empress Catherine II in on NS March. The duke’s subsequent decision to annul and late NTVO , seeking her protection and the possibility of entering destroy the dead king’s addition to his will has been interpreted Russian service. Her response had been positive. Armfelt’s in different ways by a succession of Swedish historians, from contacts with the Russians were of particular interest to the spies Elof Tegnér to Erik Lönnroth. 2 From an earlier view that was who were shadowing him. Little by little, his plans became clearer sympathetic to Armfelt, and in fact took his side, more recently to the authorities in Stockholm, as did the circumstances sur - Lönnroth has attempted a more nuanced, source-critical exa - rounding the publication of the Prospectus . The intention was to mination of the historical reality. tighten the noose in Florence. That was where the head of mis - For the purposes of this essay, however, absolute historical truth sion was to be arrested. By then, though, he had reached Naples, is of less importance, since our concern here is with Armfelt’s self- partly unaware of what was brewing. Only when a Swedish warship image, as reflected in a specific portrait. What is clear is that Arm - dropped anchor there for the purpose of conveying him to Swe - felt was well aware that his situation was precarious and that he den did he quickly realise his precarious situation. This was in the would soon end up out in the cold, despite his position as gover - middle of January NTVQ , and Armfelt had to flee Italy head over nor of Stockholm. In July NTVO , therefore, he decided to request heels, with Piranesi and his associates in hot pursuit. five months’ leave of absence. In reality, this marked the start of a The cat-and-mouse game was still under way during Armfelt’s ten-year exodus. Those now in power nipped in the bud anything stay in Florence in September and October NTVP . It was now that Armfelt might have been planning to do during his leave by ap - he placed a series of commissions with artists, seemingly without a pointing him head of mission in Italy in early September, thereby thought for the costs involved, despite in fact having to borrow safely removing him from the political scene in Stockholm. He the money. Most of these artists were Frenchmen, all of them for - himself cannot have been unaware that that was their intention, ced to leave Rome after the anti-French rioting and persecution but at the same time it gave him an opportunity to pursue, from following the execution of Louis XVI in January of that year. One abroad, his own campaign against his enemies in the regency go - of them, the original Bénigne Gagneraux, Armfelt had already vernment. Armfelt’s wish for regime change in Sweden was to in - met in Rome during Gustav III’s visit. Another was the miniaturist volve him both in negotiations in various quarters and in the pu - Antonio Zuccarelli, who painted portraits of Armfelt and his fami - blication of a pamphlet in memory of the dead Gustav III. He did ly, intended for relatives back in Sweden. 4 Others we know only by not pen this political document himself; that would have been too name, like a certain Lefevre, again a miniaturist. Two of the other dangerous. Instead, it was ghostwritten by a French emigrant, the portraits Armfelt commissioned, though, proved all the more Abbé Heral. The pamphlet was printed in Lucca in the summer spectacular in character. The artist in one case was Louis Gauffier, of NTVP , with the title Prospectus d’un ouvrage, ayant pour titre Histoi - who produced a painting that has long been in the Nationalmu - re de la vie et de l’administration de Gustave III, roi de Suède (Prospec - seum’s possession. 5 The other work, by François-Xavier Fabre, has tus of a work, having as its title A History of the Life and Adminis - unfortunately not been preserved. However, the subjects of seve - tration of Gustav III, King of Sweden). Its appearance provoked ral of these commissions and the story of their origins are known much resentment on the part of the regency in Stockholm and to us from the many reports which Francesco Piranesi and his as - suspicion immediately fell on Armfelt, who was placed under clo - sistants wrote to the new authorities in Stockholm.
Load more

Recommended publications
  • Suzanne Roslin L’Académie
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition ROSLIN, Mme Alexander, née baron Scheffer, rigsgreve Adam Lewenhaupt, She was the model for her husband’s famous Blondel d’Azincourt (Roslin’s portrait of whom Dame à l’éventail. She was one of only a handful of Jeanne-Suzanne Giroust was in the salon in 1755), Watelet, Coustou, women admitted to the Académie before the Paris 9.III.1734–31.VIII.1772 Vien and his wife, as well as Pierre and his Revolution, agréée and reçue simultaneously in 1770 Suzanne Giroust was the daughter of mother. The bride was given away by her with her portrait of Pigalle, undoubtedly her Barthélemy Giroust ( –1742), joaillier de la grandmother Mme François-Étienne Jacques, masterpiece and particularly praised by the critics garde-robe du roi, and Marie-Suzanne Le Roy ( née Jeanne-Suzanne Le Sourt – a pastel of of the 1771 Salon. Even Horace Walpole, who –1745), his second wife. On the death of her whom may tentatively be attributed to her mostly disliked the Paris salons, acknowledged this father, tuteurs were appointed for Jeanne- charge. Mme Roslin’s grandmother evidently “fine portrait” (it was the only pastel he mentioned Suzanne (the future Mme Roslin, aged 8) and played a major role in raising the orphan, who from the four salons he attended). The pastel her sister Marie-Thérèse (aged 6); as well as for was still living with her at the time of the today remains one of the most striking works in their half-brothers Étienne-Barthélemy and marriage. Jeanne-Suzanne Le Sourt was the Louvre’s collection, much of its distinctiveness Pierre, also minors, the sons of Barthélemy’s previously married to François-Gabriel Le Roy, arising from the dramatic di sotto in sù composition first marriage, to Catherine Regnault.
    [Show full text]
  • Piranesi Engravings Amateur Perfection the Summe of All Intelligence
    VOLUME 10, NUMBER 1 JULY 2005 Piranesi Engravings at the University Library Amateur Perfection Russell Grimwade’s Photographs The Summe of all Intelligence English Civil War Pamphlets Two photographic portraits taken by enthusiastic amateur photographer, Russell Grimwade. (Alice, Grimwade’s sister, and Norton, Above: Grimwade’s elder brother, taken on 29 November 1896.) University of Melbourne Archives image UMA/I/3041 and UMA/I/3042 In the four volumes of the 18th century Italian architect Giovanni Battista Piranesi used his architectural Front Cover: Le Antichita Romaine, and artistic skills to examine archaeologically the physical remains of the Roman Empire. While Volume 2 recorded the remnants of funerary monuments and tombs, its frontispiece, (ancient Antiqvvs Bvii Viarum et Artdeatinae Prospectvs ad Lapidem Extra Portam Capenam intersection of the Via Appia and Via Ardentina viewed at the second milestone outside the Porta Capena) imagines how the ruins may have looked in their time. (Library no. 508370) See page 2. Back Cover: VOLUME 10, NUMBER 1 JULY 2005 University of Melbourne Library Journal Volume 10, Number 1, July 2005 Editor: Susan Reidy Editorial Assistant: Stephanie Jaehrling Design and Layout: Jacqui Barnett Published by the University of Melbourne Library Victoria 3010 Australia Telephone (03) 8344 4660 Fax (03) 8344 5221 Email [email protected] Contents page 2 Piranesi Engravings at the University Library by Monica Syrette page 11 ‘The Summe of all Intelligence’ Pamphlets and Newsbooks of the English Civil War by Caitlin Stone University of Melbourne page 15 Amateur Perfection Library Journal © 2005 The Photograph Albums of Sir Russell Grimwade ISSN 1320–1832 by Jason Benjamin All material appearing in this journal is page 22 Chado copyright and cannot be reproduced Cultivation of Self Knowledge and Inner Peace without written permission of the by Scott Sôshin Rogers publisher.
    [Show full text]
  • Swedish Royal Ancestry Book 4 1751-Present
    GRANHOLM GENEALOGY SWEDISH ANCESTRY Recent Royalty (1751 - Present) INTRODUCTION Our Swedish ancestry is quite comprehensive as it covers a broad range of the history. For simplicity the information has been presented in four different books. Book 1 – Mythical to Viking Era (? – 1250) Book 2 – Folkunga Dynasty (1250 – 1523) Book 3 – Vasa Dynasty (1523 – 1751) Book 4 – Recent Royalty (1751 – Present) Book 4 covers the most recent history including the wars with Russia that eventually led to the loss of Finland to Russia and the emergence of Finland as an independent nation as well as the history of Sweden during World Wars I and II. A list is included showing our relationship with the royal family according to the lineage from Nils Kettilsson Vasa. The relationship with the spouses is also shown although these are from different ancestral lineages. Text is included for those which are highlighted in the list. Lars Granholm, November 2009 Recent Swedish Royalty Relationship to Lars Erik Granholm 1 Adolf Frederick King of Sweden b. 14 May 1710 Gottorp d. 1771 Stockholm (9th cousin, 10 times removed) m . Louisa Ulrika Queen of Sweden b. 24 July 1720 Berlin d. 16 July 1782 Swartsjö ( 2 2 n d c o u s i n , 1 1 times removed) 2 Frederick Adolf Prince of Sweden b. 1750 d. 1803 (10th cousin, 9 times removed) 2 . Sofia Albertina Princess of Sweden b, 1753 d. 1829 (10th cousin, 9 times removed) 2 . Charles XIII King of Sweden b. 1748 d. 1818 (10th cousin, 9 times removed) 2 Gustav III King of Sweden b.
    [Show full text]
  • Aarbøger for Nordisk Oldkyndighed Og Historie
    aarbøger for nordisk Oldkyndighed og Historie Annual of the Royal Society of Northern Antiquaries 2007 Det Kongelige Nordiske Oldskriftselskab København 2010 65227_aarbog2007_.indd 3 09-03-2010 15:57:26 © 2010 Det Kgl. Nordiske Oldskriftselskab Frederiksholms Kanal 12 DK-1220 København K. ISBN 978-87-87483-14-8 ISSN 0084-585X Redaktion: Poul Otto Nielsen (ansv.) og Ulla Lund Hansen Grafisk tilrettelæggelse og billedbehandling: Jan Holme Andersen Udgivet med støtte fra Forskningsrådet for Kultur og Kommunikation Grunddesign, prepress og tryk: Narayana Press, Gylling Skrift: Minion Papir: 130 g Chorus Satin Omslag: Den Kongelige Commission for Oldsagers Opbevaring nedsat ved forordning af Kong Christian VII den 22. maj 1807 Medlemmer i perioden 1807-1816, fra toppen mod højre: Kommissionens formand A.W. Hauch, F. Münter, kommissionens sekretær R. Nyerup, P.J. Monrad, W.H.F. Abrahamson, B. Thorlacius, E. Vargas Bedemar, E.C. Werlauff, og L.S. Vedel Simonsen Alle manuskripter sendes til vurdering hos to anonyme referees, inden de accepteres til trykning All papers are subject to anonymous peer refereeing Vor einer möglichen Publikation werden alle Manuskripte zwei anonymen Referenten zur Begutachtung vorgelegt Salg til ikke-medlemmer i kommission hos: Herm. H. J. Lynge & Søn Internationalt antikvariat Silkegade 11 DK-1113 København K. www.lynge.com [email protected] Salg med rabat til medlemmer direkte fra Selskabet – se bagest i bogen 65227_aarbog2007_.indd 4 09-03-2010 15:57:26 Oldsagskommissionens tidlige år forudsætninger og internationale forbindelser Nationalmuseets 200 års Jubilæumssymposium 24.-25. maj 2007 arrangeret af Nationalmuseet og Wormianum i samarbejde med Kulturarvsstyrelsen 65227_aarbog2007_.indd 5 09-03-2010 15:57:26 Kong Hildetands høj.
    [Show full text]
  • The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826.
    [Show full text]
  • Armfelts Villa Frescati
    HAGABLADENr 1–2/2012 T Från domstol till boksamling e v i g u s tav s o n - k a d a k a är huset välbevarat men interi- o c h t o m a s j a n s s o n ört har flera ombyggnader och moderniseringar gjorts; dock finns tingssalen med åhörar- Det som på Fredrik Magnus läktare samt arresten bevarade. Pipers Generalplan av gamla Domarskranket finns också och nya Haga lustpark 1786 bevarat, men är numera fiffigt var en sumpig del av Brunns- inneslutet av på plats byggda viken med småöar var 1905 en bokhyllor, som utmärkt, både grässlänt vid Haga Södra grin- i stil och färgsättning, harmo- dar kallad Lilla pelousen, Stall- nierar med husets atmosfär. mästaregårdsängen och senare Den skicklige scenografen och Tingshusslätten. Vid kanten av snickaren Jonas Fuchs lycka- slänten uppfördes under åren des på enbart några veckor 1905–07 Haga Tingshus som förvandla ett trist kontorsland- tingsställe för flera tingslag skap till en verkligt genuin och i Södra Roslags domsaga på hemtrevlig miljö. Huvudentrén mark upplåten av kungen. Fritz används inte längre på grund Ullrich (1860–1917) och Eduard av närheten till trafikleden utan Hallquisth (1862–1923) ritade har sedan år 2000 ersatts av en huset. Byggtiden var knappt nybyggnad på parksidan. Haga tre år och kostnaderna närmare Tingshus blev byggnadsmin- 150.000 kronor. nesmärkt 1935. Visst ser Haga Tingshus ut Under arbetet med grun- som en pampig villa, rent av den upptäcktes en jättegryta ett lustslott, i sin trädgård! Den från istiden, 3 meter djup och ståtliga fasaden med vaktande 90 centimeter i diameter.
    [Show full text]
  • Acquisitions for the Reopened Nationalmuseum, Stockholm, 2011
    Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 1 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 2 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 3 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 ork on the newly refurbished Nationalmuseum, was a clear educational and art-historical endeavour in the Museum’s Stockholm, which reopens to the public on 13th acquisitions policy, centred on notions of styles and periods, gradually this October, has built on three simultaneous and faded away in favour of a focus on aesthetic experience alone. The solitary parallel projects: renovation and remodelling of artistic genius was seen as supplying material for a dramatic narrative, Wthe building, a new display of the collection and against a backdrop built increasingly around individual masterpieces. new acquisitions. Alongside transforming the old building into a museum that is tter for purpose and more secure, Sleeper awakened by a young woman with a lit wick, or Il Fumacchio, considerable energy has gone into making the collections more accessible. by Nicolas Régnier. c.1622–25. Canvas, 101 by 133 cm. This has involved both showing well-known works from the collections Gift of the Friends of the Nationalmuseum, 2011. NM 7077. in a new way and rediscovering others that, for one reason or another, had fallen into obscurity. This scene of ribaldry was presumably invented by Régnier, a Franco-Flemish A review of the extensive holdings of the Nationalmuseum highlighted Caravaist. A courtesan plays a prank on a handsome young prodigal who has dozed a number of gaps.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • 20180501 Northern Capitals the Baltics
    Northern Capitals: The Baltics Tuesday, May 01, 2018 The pilot was correct, we made up the lost time and entered Amsterdam airspace when he predicted we would be there. However, the winds were about 32 knots and only one runway was open and we were kept in a holding pattern for thirty minutes before being cleared to land. Immigration only had two desks open initially but they added three more windows and we processed through the serpentine in 45 minutes. Once we gathered our luggage we proceeded to a Royal Caribbean Welcome Desk where Fereshteh and Mo purchased transfers to the ship to join us on the thirty minute bus ride to the passenger terminal. The Brilliance of the Seas had changes made to the ship in the ten or so days before our cruise so the passengers were all logged into the terminal and given a group assignment. Some of the clerks had computer problems and people were invited (and tagged) requiring them to come back and get photos electronically tagged to their sea pass. We just asked one of the clerks whose computer was working to process our photo so we didn't have to come back. Then our groups were later called out in order to board the vessel. When our group was called we entered the ship at Deck Four and Liz and Fereshteh stopped at the Guest Services Desk to have their ship cards hole-punched to let them put their cards on a lanyard to carry about the ship. Next we went to the Windjammer Cafe on Deck 11 for lunch.
    [Show full text]
  • Alexandreroslin.Pdf
    Alexandre Roslin (1718-1793), un portraitiste pour l’Europe Dossier de presse Sommaire Communiqué de presse page 2 Alexandre Roslin (1718-1793), Chronologie page 3 Extrait de texte du catalogue page 5 Parcours de l’exposition dans les appartements de Mesdames page 6 Liste des œuvres présentées dans l’exposition page 9 Œuvres commentées, sélection extraite du catalogue page 13 Catalogue de l’exposition page 19 Renseignements pratiques page 20 Liste des visuels disponibles pour la presse page 21 1 Alexandre Roslin (1718-1793), un portraitiste pour l’Europe Dossier de presse Communiqué de presse Alexandre Roslin (1718-1793), un portraitiste pour l’Europe 19 février – 18 mai 2008 Exposition au Château de Versailles, Appartements de Mesdames, filles de Louis XV En collaboration avec le Musée national de Stockholm, l’Etablissement public du musée et du domaine national de Versailles présente la première grande rétrospective consacrée à Alexandre Roslin, portraitiste de la société du XVIIIe siècle à la carrière européenne. Pour la première fois depuis la fin de l’Ancien Régime, les effigies peintes par Roslin regagnent les murs de l’appartement de Mesdames, filles de Louis XV, qui jadis les avaient portées. Versailles possède un remarquable ensemble de 12 portraits comprenant plusieurs chef-d’œuvres dont les effigies de l’abbé Terray et du Dauphin, fils de Louis XV. Un ensemble de 65 œuvres provenant de Stockholm, de Saint-Pétersbourg, de Minneapolis, de Versailles, du Louvre, et de nombreuses collections privées, sera ainsi présenté au château de Versailles du 19 février au 18 mai 2008. Né à Malmö dans le Sud de la Suède, Alexandre Roslin se forma à Stockholm auprès du peintre Georg Engelhardt Schröder.
    [Show full text]
  • Archäologie Und Politik Francesco Piranesi Und Seine Drei Pompeji-Pläne
    Originalveröffentlichung in: Rivista di studi pompeiani 11, 2000, S. 33-46 VALENTIN KOCKEL Archäologie und Politik Francesco Piranesi und seine drei Pompeji-Pläne Nel 1785 Francesco Piranesi pubblicö la prima pianta generale di Pompei, nella quäle documentava la situazione degli scavi nel 1780. Questa prima edizione e le due successive sono pubblicate qui insieme per la prima volta. Nella seconda edizione furono ag- giunti gli scavi fino al 1788, mentre una terza versione, del 1792, non contiene ulteriori aggiunte archeologiche. La pianta colmava cosi una lacuna essenziale nella conoscenza degli scavi e serviva agli eruditi, come anche ai viaggiatori, che visitavano il luogo, quä• le ausilio affidabile per orientarsi. Oggigiorno il valore archeologico non puö essere piü considerato cosi alto, dato che la stesura del- la pianta mostra generalmente delle proporzioni sbagliate ed in molti dettagli le planimetrie vengono semplificate o sono addirittura errate. L'ultima versione, dedicata al re di Svezia appena incoronato, induce a riflettere sulla connessione tra arte, commercio d'arte e politica, nella quäle Francesco si cimentö con grande successo nei suoi rapporti con il regno di Svezia. Schon zu Beginn der Ausgrabungen in Hercula- al zu Hause verdeutlichen kann, ist die Handskizze neum und Pompeji waren sich die Verantwortli• des Mitglieds der Akademie von Bordeaux, Fran- chen darüber im Klaren gewesen, daß genaue Pläne cois de Paule Latapie, aus dem Jahr 1776.7 Latapie der Ruinen angefertigt werden mußten1. Bis heute hatte die Distanzen
    [Show full text]
  • Toward a New Portrait of Madame Élisabeth De France Maria Spencer Wendeln Wayne State University
    Wayne State University Wayne State University Dissertations 1-1-2015 Princess On The aM rgins: Toward A New Portrait Of Madame Élisabeth De France Maria Spencer Wendeln Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Feminist, Gender, and Sexuality Studies Commons, and the History Commons Recommended Citation Wendeln, Maria Spencer, "Princess On The aM rgins: Toward A New Portrait Of Madame Élisabeth De France" (2015). Wayne State University Dissertations. Paper 1322. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. PRINCESS ON THE MARIGNS: TOWARD A NEW PORTRAIT OF MADAME ÉLISABETH DE FRANCE by MARIA SPENCER WENDELN DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan, in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ ____________________________________ © COPYRIGHT BY MARIA SPENCER WENDELN 2015 All Rights Reserved DEDICATION For my sisters in French heritage and history: Alice du Puy Spencer, my grandmother; Josephine du Puy, her sister and my godmother; Mary Paulette Van Vactor Heil, my beloved friend; and Mary Joan Gills Spencer, my mother and fellow researcher. ii ACKNOWLEDGEMENTS My acknowledgements begin with a special note of gratitude to Dr. Christopher Johnson. I could have not had a better adviser for my master’s thesis and this work in part derives from his guidance on my analysis of Madame Élisabeth’s 1787 portrait by Labille-Guiard.
    [Show full text]