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Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Cusack's Freehand Ornament. a Text Book with Chapters on Elements
GIFT OF MICHAEL REESE Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/cusacksfreehandoOOarmsrich I CUSACK'S FREEHAND ORNAMENT. I CUSACK'S FREEHAND ORNAMENT. • A Text Book with Chapters on Elements, Principles, and Methods of Freehand Drawing, FOR THE GENERAL USE OF Teachers and Students of Public, Private and Elementary Schools ; for Students in Training Colleges, and for Elementary Art Students. BY CHAKLES AKMSTKONG, ft Art Master, City of London School of Art ; Late of the National Art Training School Examiner to the Art Department. Author of " Cusack's Shading " and '* Ciisack's Model Dravciny. vSS^ ^"^^^ 3/6 net. .CALIFORNl^^^ CITY OF LONDON BOOK DEPOT: White Street and Finsbury Street, Moorfields, London, E.G. /VC650 Pbinted bv Stbaker Bbothees & Co. " The Bishopsoate Pbess," 41-47, Bishopsoate Withoit, E.G. PEEFACE Twenty years ago it was generally believed that only a very small portion of the population were born with natural ability to draw, and that it was useless for the remainder to try. Now, however, it is generally admitted that all can develop a certain amount of ability to draw. Drawing has become general in elementary schools, and is recognised as a help in almost every trade or profession. This sudden popularity of the subject must make it very hard for teachers, who find a large proportion of their pupils with natural ability far below the average. To make headway at all with such pupils, definite method is essential. The object of this book is to teach definite methods, and to impress them on the mind by repetition. -
Geometric Analysis of Forumad Mosques' Ornaments
Proceedings of Bridges 2013: Mathematics, Music, Art, Architecture, Culture Geometric Analysis of Forumad Mosques’ Ornaments Mahsa Kharazmi Reza Sarhangi Department of Art and Architecture Department of Mathematics Tarbiat Modares University Towson University Jalale Ale Ahmad Highway, Tehran, Iran Towson, Maryland, 21252 [email protected] [email protected] Abstract This article analyzes the architectural designs and ornaments of a 12th century structure in Iran. Friday Mosque of Forumad, Masjid-i Jami' Forumad is a prototype mosque in Persian architecture using an application of ornaments. Architectural ornaments are important examples of practical geometry. The brilliant stucco ornaments, elaborate strapwork patterns with turquoise and cobalt blue, and floral motifs with underlying geometric patterns, made this mosque a worthwhile building in early Iranian-Islamic period. By introducing the mosque’s features, the ornaments that adorn some of the walls will be analyzed and geometric methods for constructing their underlying designs will be presented. 1 Introduction Early mosques were simple buildings with no decoration. After some decades and under the influence of advanced civilizations of conquered territories, architectural ornaments entered into their existence. Since Islamic thought prohibited artists and craftsmen of creating human figures, they turned their attention to abstract forms. They also benefited from mathematics, which flourished in early Islamic period in Baghdad. This resulted to a widespread movement in Islamic geometric art. Even though the designers of those structures had remarkable knowledge of applied geometry, there exist few written records to explain various methods that they employed for constructions of their designs [7]. Nevertheless, based on the detailed and sophisticated geometric designs in these documents we may suggest that some degree of mathematical literacy may have existed among the master builders, architects and master engineers [1]. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
Floris-Style’ the Sixteenth-Century Print Album of Ulrich, Duke of Mecklenburg, and His Inspirational Source for Sculptural Commissions
339 Rethinking the ‘Floris-style’ The sixteenth-century print album of Ulrich, Duke of Mecklenburg, and his inspirational source for sculptural commissions Cynthia Osiecki In the sixteenth century, printed works were spread all across Europe. Prints circulated at courts in various forms, from loose sheets to bundles, portfolios, and, last but not least, bound albums.1 Because most albums were later dismantled, little is known about print collection practices or about their practical usage in the sixteenth century.2 However, parts of the book and print collection of Ulrich, Duke of Mecklenburg (1527-1603), survived the ravages of time. These books and engravings can be directly linked to Ulrich’s architectural and sculptural commissions in his ducal seat, Güstrow, and the surrounding towns belonging to his duchy. This article will investigate the particular connections between Netherlandish ornament prints and Netherlandish stone sculpture. It will do so, firstly, by looking at a print album dated 1573, once belonging to Ulrich.3 Secondly, the commissions given by the duke to the workshop of the Utrecht-born sculptor Philip Brandin (c. 1535-1594) in the Hanseatic town of Wismar will be compared with the collected ornament prints. Since the influence of Netherlandish engravings on contemporary sculpture is only mentioned in passing in the literature,4 this print album has extra value; it provides new insights into the inspirational sources of a north-German princely patron for his large so-called Floris-style sculptural commissions, which -
Medieval Islamic Architecture, Quasicrystals, and Penrose and Girih Tiles: Questions from the Classroom
Medieval Islamic Architecture, Quasicrystals, and Penrose and Girih Tiles: Questions from the Classroom Raymond Tennant Professor of Mathematics Zayed University P.O. Box 4783 Abu Dhabi, United Arab Emirates [email protected] Abstract Tiling Theory studies how one might cover the plane with various shapes. Medieval Islamic artisans developed intricate geometric tilings to decorate their mosques, mausoleums, and shrines. Some of these patterns, called girih tilings, first appeared in the 12th Century AD. Recent investigations show these medieval tilings contain symmetries similar to those found in aperiodic Penrose tilings first investigated in the West in the 1970’s. These intriguing discoveries may suggest that the mathematical understanding of these artisans was much deeper than originally thought. Connections like these, made across the centuries, provide a wonderful opportunity for students to discover the beauty of Islamic architecture in a mathematical and historical context. This paper describes several geometric constructions for Islamic tilings for use in the classroom along with projects involving girih tiles. Open questions, observations, and conjectures raised in seminars across the United Arab Emirates are described including what the medieval artisans may have known as well as how girih tiles might have been used as tools in the actual construction of intricate patterns. 1. Islamic Tilings and Traditional Strapwork The Islamic world has a rich heritage of incorporating geometry in the construction of intricate designs that appear on architecture and tile walkways as well as patterns on fabric, see [4]. This highly stylized form of art has evolved over the centuries from simple designs to fairly complex geometry involving a high degree of mathematical symmetry. -
Thomas Del Mar Ltd in Association with Sotheby’S Antique Arms, Armour & Militaria London Wednesday 10Th December 2008
Thomas Del Mar Ltd In association with Sotheby’s Antique Arms, Armour & Militaria London Wednesday 10th December 2008 Thomas Del Mar Ltd In association with Sotheby’s 25 Blythe Road London W14 0PD Tel: +44 (0) 207 602 4805 Fax: +44 (0) 207 602 5973 Email: [email protected] www.thomasdelmar.com AUCTION ENQUIRIES AND INFORMATION Sale Number: 007 Code name: Formosa Enquiries Catalogue Thomas Del Mar £15 plus postage Ian Eaves Clair Boluski George Duckett Thomas Del Mar Ltd 25 Blythe Road London W14 0PD Tel: +44 (0) 207 602 4805 Fax: +44 (0) 207 602 5973 Email: [email protected] Online Catalogue: www.thomasdelmar.com www.antiquestradegazette.com/thomasdelmar Thomas Del Mar Ltd gratefully acknowledges Peter Smith for his assistance in the preparation of this catalogue. Front cover: lot 233 Back cover: lot 155 Thomas Del Mar Ltd In association with ANTIQUE ARMS, ARMOUR & MILITARIA TO BE SOLD BY AUCTION AT Thomas Del Mar Ltd 25 Blythe Road London W14 0PD PUBLIC EXHIBITION Sunday 7th December 12 noon to 5pm Monday 8th December 10am to 8pm Tuesday 9th December 10am to 5pm DAY OF SALE Wednesday 10th December 2008 at 12 noon, precisely This auction is conducted by Thomas Del Mar Ltd in accordance with our Conditions of Business printed in the back of this catalogue. All questions and comments relating to the operation of this sale or to its contents should be addressed to Thomas Del Mar Ltd and NOT to Sotheby’s. view catalogue and contact us online at www.thomasdelmar.com www.antiquestradegazette/thomasdelmar.com i ii Important Information for Buyers All lots are offered subject to Thomas Del Mar Ltd’s Condition’s of Business and to reserves. -
PHILLIP J. PIRAGES Fine Books and Manuscripts
PHILLIP J. PIRAGES Fine Books and Manuscripts 17091709 NENE 27th27th Street, SuiteSuite G G McMinnville,McMinnville, OROR 9712897128 (503)(503) 472-0476 www.pirages.comwww.pirages.com [email protected]@pirages.com A Selection of Items for Go to firstslondon.com to view One of the Most Beautiful Miniatures We Have Ever Offered for Sale 1. AN ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A BOOK OF HOURS, WITH AN OUTSTANDING MINIATURE OF ST. SEBASTIAN. TEXT FROM SUFFRAGES, WITH A PRAYER IN FRENCH INVOKING PROTECTION AGAINST THE PLAGUE. (France [perhaps Rennes?]: ca. 1435) 180 x 140 mm. (7 1/8 x 5 1/2”). Single column, verso with 14 lines in a large, fine gothic hand. Matted. Capitals struck with yellow, verso with a line-ender in pink, blue, and gilt with white tracery, recto with a four-line initial in blue with delicate white tracery on gilt ground and filled with red and blue leaves, A FULL BORDER of dense rinceau decoration, the penwork vines terminating in gilt bezants and red and blue flowers, each corner with a different flowering plant, including strawberries and red, blue, or pink flowers, A HALF PAGE MINIATURE DEPICTING THE ATTEMPTED MARTYRDOM OF ST. SEBASTIAN, framed in gilt and with an additional three-quarter frame of gold and blue bars surrounding the text and miniature. See: Walters II, 108; Diane E. Booton, “Manuscript, Market, and the Transition to Print in Late Medieval Brittany,” pp. 53-58. Margins trimmed a little close to the border, one corner with just a hint of soiling and one small flower rubbed away, some of the gold bezants faintly dulled, but THE MINIATURE IN IMMACULATE CONDITION, seemingly as fresh and richly hued as the day it was painted. -
Chaise À Porteurs*
the rijksmuseum bulletin 100 the rijks two drawings by valadiermuseum in amsterdam bulletin A Seventeenth-Century Drawing for a Chaise à Porteurs* • esther van der hoorn • n 2013 the Rijksmuseum deployed < Detail of fig. 1 clearly by the same hand, which will I funds provided by the Decorative be reconstructed here. It comprises Art Fund to acquire a drawing of a two drawings now in the Metropolitan sedan chair or chaise à porteurs (fig. 1).1 Museum of Art, New York (figs. 2-3),2 This was a type of carriage used to a drawing formerly in the possession transport individuals across relatively of the Amsterdam art dealer Lodewijk short distances. Carrying poles on Houthakker (fig. 4), six drawings either side supported a wooden body formerly in the collection of Charlotte designed to accommodate a single von Prybram-Gladona (figs. 5-10) and person, who would enter through a three drawings exhibited by the dealer front panel that doubled as a door. The Armin B. Allen in New York in 1985 drawing, executed in pen and brown (figs. 11-13).3 ink with grey wash, depicts three sides The Metropolitan Museum’s draw- of a chaise à porteurs (from left to right: ings both bear a typewritten label, one the back, front and right-hand side). in French and the other in German, The dome is surmounted by a small pasted on to their mounts. The text finial, as are its four corners. It rests on the labels refers to three drawings, upon lion’s paw feet, and has sockets stating that they were consecutively in on both sides that would have held the collections of the French architect the poles for carrying the vehicle. -
The Moresque at the Time of Francis I and Henry Viii
STRIVING FOR THE INFINITE ? THE MORESQUE AT THE TIME OF FRANCIS I AND HENRY VIII by Astrid Bextermoller [Master of Philosophy Faculty of Arts University of Glasgow] Christie's Education London Master's Programme September 2000 © Astrid Bextermoller ProQuest Number: 13818872 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818872 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY .LIBRARY: - U5'5 ABSTRACT The Tales of the Alhambra by Washington Irving still capture the contemporary imagination. The arabesque with its cumulative rhythmic effect and the total coverage of the decorative field is a dominant feature of ornament in the Alhambra in Granada. As 'moresque' the stylized interlaced foliage pattern becomes part of European ornament up to the level of complete absorption. The introductory essay searches for the origins and the development of the arabesque and follows some major routes into the canon of European ornament. Also, some differences in meaning and function of Islamic and European ornament are explored. The court of Francis I and Henry VIII as important Renaissance artistic centres are taken as examples to show the dissemination of the moresque across Iurep§: The fourteen exhibits illustrate the application and the appropriation of the arabesque in various media and for various purposes. -
Read Book Islamic Tiles (Eastern Art)
ISLAMIC TILES (EASTERN ART) PDF, EPUB, EBOOK Venetia Porter | 128 pages | 02 May 1995 | BRITISH MUSEUM PRESS | 9780714114569 | English | London, United Kingdom Islamic Tiles (Eastern Art) PDF Book Preview — Islamic Tiles by Venetia Porter. Although luster painting could work with multiple colors, we see more monochromatic examples that later spread elsewhere in Western Asia and then further west to North Africa, Europe, and America. Haft rang tile was a good choice for economic reasons it was both cheaper and quicker to produce , and the seven colors gave more artistic freedom to artisans. These wood-framed decorative windows are distinctive features of the palace's architecture. This architecture is characterised by its monumental scale, its relative simplicity of form and a somewhat sombre tone. Al Arte Magazine. Two physicists, Peter J. Muqarnas decoration, Unknown, Turkey, Bursa, 15th century, Ceramics, Earthenware, cuerda seca technique, Specifically associated with Islamic architecture, the muqarnas is a three-dimensional decorative element that resembles a honeycomb or stalactite. These are stable in either a contracted or an expanded state, and can switch between the two, which might be useful for surgical stents or for spacecraft components. As a result, many Islamic decorations feature stylized motifs and either interlacing patterns such as geometric designs or arabesques or calligraphy — or a combination. Hadi is currently reading it Dec 30, Image via Wikimedia Commons The Dome of the Rock exterior from the late seventh century features a border of blue tile with white calligraphy. Patterns in the "shabaka" windows include 6-, 8-, and point stars. Architectural drawing for brick vaulting, Iran, probably Tehran, — The earliest geometrical forms in Islamic art were occasional isolated geometric shapes such as 8-pointed stars and lozenges containing squares. -
Mathematical Mosaics Islamic Art and Quasicrystals
MATHEMATICAL MOSAICS ISLAMIC ART AND QUASICRYSTALS Metin ARIK Bogazici University, Istanbul Talk given at Crystallography for the next generation: the legacy of IYCr Hassan II Academy of Science and Technology, Rabat, Morocco 23 April 2015 Mathematical Mosaics, Islamic Art and Quasicrystals The use of local fivefold symmetry in Islamic tilings started in the 11th century. Examples of such tilings are discussed and the rules employed in these tilings are presented. It is demonstrated how a periodic pattern can be transformed into a locally aperiodic Penrose tiling pattern which most efficiently solves the difficult problem of the mathematical aperiodic tiling. Most remarkably, these tilings match with crystal diffraction patterns which exhibit fivefold symmetry. Inevitably, this topic reminds us of the flowering of scientific brilliance in Islam from the ninth to the thirteenth century—a period often described as the “golden age” of Islamic science. http://spacecollective.org/michaelerule/5810/Quasicrystal-Diffraction-Patterns This is a diffraction pattern of a real 3D quasicrystal. For a 3D crystal, the diffraction pattern is also three dimensional. All of the rendered images here are for 2D quasicrystals with 2D diffraction patterns. http://spacecollective.org/michaelerule/5810/Quasicrystal-Diffraction-Patterns This is a 5-fold 2D quasicrystal spatial domain. This pattern is related to Penrose tiling http://spacecollective.org/micha elerule/5810/Quasicrystal- Diffraction-Patterns Five plane waves are summed and thresholded to generate this pattern. The Fourier transform of this lattice looks more like what one might expect for a crystal. Joint work with Mustafa Sancak • “New sets of pentaplex tiles” Balkan Physics Letters 11 (2003) 215.