DOCSLIB.ORG

Large Print Labels 5 1 2 3 6 4 Entry Shop 7 Introduction Foyer Wall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Large Print Labels 5 1 2 3 6 4 Entry Shop 7 Introduction Foyer Wall Large print labels 5 1 2 3 6 4 Entry Shop 7 Introduction foyer wall ‘To walk through the National Gallery is to journey through the history of picture-making in Western Europe, from the thirteenth century to the beginning of the twentieth, and this exhibition aims to give a flavour of that experience.’ Dr Gabriele Finaldi Director, National Gallery, London The National Gallery, London is one of the world’s best- known national galleries of art. It was founded in 1824 when the British government bought 38 paintings from the estate of the banker John Julius Angerstein and made his Pall Mall town house the venue for the public exhibition of paintings. Now located in Trafalgar Square in the centre of London, the National Gallery holds just over 2300 paintings. It is one of the few major European art galleries whose collection was built through gifts and purchases, rather than based on a former royal collection. Its carefully curated collection has been a model for art galleries worldwide, including the National Gallery of Australia when it was established over a century later. Botticelli to Van Gogh: Masterpieces from the National Gallery, London is the first time in its near 200-year history that the National Gallery, London has toured an exhibition of works 33. Drawing on the strengths of their collection, this exhibition offers a rare opportunity to see 61 paintings by some of Europe’s most revered artists, including Botticelli, Titian, Rembrandt, Vermeer, El Greco, Velázquez, Goya, Turner, Constable, Van Dyck, Gainsborough, Renoir, Cézanne, Gauguin and Van Gogh. Spanning 450 years, it provides an overview of Western European art history through seven defining periods: Italian Renaissance painting; Dutch painting of the Golden Age; Van Dyck and British portraiture; The Grand Tour; The discovery of Spain; Landscape and the picturesque; and France and the rise of modern art. #BotticelliVanGogh Organised by The National Gallery, London, Art Exhibitions Australia and the National Gallery of Australia. Introduction to Room 1 ITALIAN RENAISSANCE PAINTING For most of the past 500 years, no art has been more consistently valued within European cultures than that created during the Renaissance. Characterised as the ‘rebirth’ of the arts and humanities, and spanning over 200 years, the Renaissance emerged from the 1340s in Florence, before spreading across Italy and beyond. Inspired by classical antiquity, Renaissance artists became famous during their lifetimes and were praised for their ability to create images of the world that were both highly crafted and convincingly true to life. The most prestigious subjects for painting were drawn from classical literature, history and the Old and New Testaments of the Bible. The job of the artist was to make these stories come to life. This was achieved through the pictorial invention of one-point perspective and the study of anatomy, colour, light and movement. For artists during the Renaissance this meant learning to draw architectural subjects, nature and the human body—both at rest and in motion. Room 1 ITALIAN RENAISSANCE PAINTING Wall labels for Room 1, clockwise 1 Paolo Uccello Italy c 1397–1475 Saint George and the dragon c 1470 oil on canvas The National Gallery, London Bought with a special grant and contributions from the Phillott and Temple-West Funds, 1959 NG 6294 Saint George slaying the dragon was one of the most popular Christian stories of the Middle Ages. In this interpretation from the early Renaissance Uccello has compressed two parts of the story into one small picture showing Saint George plunging his spear into the dragon’s head, while the princess serenely holds a leash around its neck. Uccello was fascinated with new ideas about perspective and the illusion of receding space within pictures. This painting demonstrates how instrumental artists of the early Renaissance were in developing new ways of representing stories in artful but increasingly realistic terms. Giovanni Girolamo Savoldo Italy c 1480–c 1548 Mary Magdalene c 1535–40 oil on canvas The National Gallery, London Bought 1878 NG 1031 In a scene taken from the New Testament, Savoldo depicts Mary Magdalene seated before the empty tomb of Christ early on the Sunday morning following his crucifixion. In the biblical scene—here transposed to the artist’s native Venice—Christ approached Mary as she cried outside his tomb. Savoldo was best known for his paintings of Mary Magdalene and for his atmospheric night-time scenes; in the background, dawn is seen breaking over the Venetian lagoon. The pictorial effects of dawn light on Mary’s shimmering satin shawl exemplify what sixteenth-century collectors most admired in his work. For kids Can you see light reflecting on the folds of the silver scarf? The scarf is enveloping Mary Magdalene, who is mourning the death of her friend Jesus. Notice the first light of the morning in the background and the contrasting dark tones across the painting. What might this tell you about the mood in the painting? Domenico Ghirlandaio Italy 1449–1494 The Virgin and Child c 1480–90 tempera on poplar The National Gallery, London Mond Bequest, 1924 NG 3937 Made for private worship at home, this picture provided not only a focus for Christian prayer but a fictive window into an ideal landscape beyond. How Ghirlandaio has rendered both figures with fleshy but well-defined features in his picture is characteristic of Florentine painting and drawing in this period. The stiff folds of the Virgin’s red dress and the solidity of Christ’s body are designed to reinforce the three-dimensionality of the holy figures. This style was part of a tradition that intended to give the subjects a real and enduring presence. Giovanni Battista Moroni Italy 1520/4–1579 Portrait of a gentleman with his helmet on a column shaft c 1555–56 oil on canvas The National Gallery, London Bought 1890 NG 1316 This full-length portrait, the most ambitious and expensive variety of Renaissance portraiture, depicts an unknown man dressed partially in armour standing beside a broken column. While the column may indicate the man’s fortitude, suggesting not only strength but the endurance of ancient values or family lineage, architectural ruins often featured in Moroni’s portraits of this period. Moroni spent his life working in and around the prosperous cities of Lombard in northern Italy. This portrait dates from his time in Brescia, where his paintings were revered for their naturalism, limited colour palette and his ability to convey the dignity and prestige of his high-status sitters. Sandro Botticelli Italy c 1445–1510 Four scenes from the early life of Saint Zenobius c 1500 tempera on wood The National Gallery, London Mond Bequest, 1924 NG 3918 Botticelli is seen as the quintessential Florentine artist and one of the most celebrated of all early Renaissance painters. This picture is the first in a group of four panels that tell the story of the life of Zenobius, patron saint of Florence. The style belongs to a category of painting known as spalliere, because they were displayed at the height of an average person’s spalle, or shoulder. Read like a cartoon strip from left to right, this painting shows off Botticelli’s mastery of one-point perspective to present Zenobius moving through the colonnaded streets of Florence as he rejects marriage, is baptised, witnesses his mother’s baptism and is ordained as Bishop of Florence. Carlo Crivelli Italy 1430/5–c 1494 The Annunciation, with Saint Emidius 1486 egg and oil on canvas The National Gallery, London Presented by Lord Taunton, 1864 NG 739 Crivelli’s best-known painting, this altarpiece was created for a convent of Observant Franciscan nuns in the Italian town of Ascoli Piceno, where the artist lived from 1478. This format allowed him to show off his mastery of perspective and trademark skill at foreshortening, in a picture that combined classical architecture and ornamental detail with events from Ascoli’s history and the biblical story of Mary’s Annunciation. Crivelli loved playing games with his viewers by suggesting that his paintings were both flat and three- dimensional; the shadow cast by the fruit and vegetable sitting on the bottom shelf is a wonderful case in point. For kids Can you spot an angel in the picture? There are many different characters appearing across the painting. Look closely and notice the different activities the people are involved in. Imagine that you could step into the painting. Which character would you like to be? Titian active Italy c 1506–1576 Noli me tangere c 1514 oil on canvas The National Gallery, London Bequeathed by Samuel Rogers, 1856 NG270 The scene depicted in this picture is from the Resurrection in which Christ appears to Mary Magdalene in the Garden of Gethsemane (John 20:14–18). When Mary reaches out to him, Christ instructs ‘Noli me tangere’ [Do not touch me], as it is time for his followers to let go of his earthly presence and await the Holy Ghost. In Titian’s interpretation the focus is on the interplay between the two figures in the landscape. The contrapposto, or twisting pose, of Christ shows off Titian’s ability to animate the human figure, while the vibrant hues are characteristic of the Venetian school of painting and his mastery of light and colour. Jacopo Tintoretto Italy c 1518–1594 The origin of the Milky Way c 1575 oil on canvas The National Gallery, London Purchased 1890 NG 1313 Tintoretto, the son of a dyer or tintore, epitomised the exuberance of the Venetian school of painting. Before 1857 this picture was known as The nursing of Hercules. It depicts the story of how the god Jupiter attempted to obtain immortality for his son Hercules, who was born to a mortal woman.
Load more

Recommended publications
  • Supplementary Information For
    1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows.
    [Show full text]
  • The National Gallery, London, Houses One of the Finest on the National Gallery, 17 Collections of Western European Paintings in the World
    Gabriele Finaldi THE NATIONAL GALLERY THE NATIONAL THE NATIONAL GA LLERY Masterpieces of Painting ISBN: 9781857096484 1048654 9 7 8 1 8 5 7 0 9 6 4 8 4 PRINTED IN BELGIUM THE NATIONAL GA LLE RY Masterpieces of Painting A celebration of European painting from Contents the thirteenth to the early twentieth century The National Gallery, London, houses one of the finest On the National Gallery, 17 collections of western European paintings in the world. by way of introduction Its extraordinary range includes masterpieces from the early medieval and Renaissance periods to Post-Impressionism, by Gabriele Finaldi artists such as Leonardo, Raphael, Holbein, Titian, Velázquez, 29 Rembrandt, Turner, Monet and Van Gogh. This beautiful book 1250–1500 presents more than 275 of the Gallery’s most treasured pictures 1500–1600 97 including some outstanding recent acquisitions. Each work is richly illustrated, many with full page details, and accompanied 1600–1700 175 by a concise, illuminating text. Like the collection itself, the paintings are arranged broadly by date, offering an unrivalled 1700–1850 271 overview of European painting through seven centuries and allowing the reader to make fascinating connections across After 1850 323 this uniquely representative collection. List of works 377 An introduction by Gabriele Finaldi provides a history of the Gallery from its beginnings in a London townhouse to its present landmark position in Trafalgar Square. Gabriele Finaldi is Director of the National Gallery, London. On the National Gallery, by way of introduction Gabriele Finaldi his book celebrates the nation’s collection of financier, John Julius Angerstein (1735–1823), T great paintings on show in Trafalgar Square.
    [Show full text]
  • Morgan's Holdings of Eighteenth Century Venetian Drawings Number
    Press Contacts Patrick Milliman 212.590.0310, [email protected] l Alanna Schindewolf 212.590.0311, [email protected] NEW MORGAN EXHIBITION EXPLORES ART IN 18TH-CENTURY VENICE WITH MORE THAN 100 DRAWINGS FROM THE MUSEUM’S RENOWNED HOLDINGS Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings September 27, 2013–January 5, 2014 **Press Preview: Thursday, September 26, 2013, 10:00–11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, September 3, 2013—The eighteenth century witnessed Venice’s second Golden Age. Although the city was no longer a major political power, it reemerged as an artistic capital, with such gifted artists as Giambattista Tiepolo, his son Domenico, Canaletto, and members of the Guardi family executing important commissions from the church, nobility, and bourgeoisie, while catering to foreign travelers and bringing their talents to other Italian cities and even north of the Alps. Drawn entirely from the Morgan’s collection of eighteenth-century Venetian drawings—one of Giambattista Tiepolo (1696–1770) Psyche Transported to Olympus the world’s finest—Tiepolo, Guardi, and Pen and brown ink, brown wash, over black chalk Gift of Lore Heinemann, in memory of her husband, Dr. Rudolf Their World chronicles the vitality and J. Heinemann, 1997.27 All works: The Morgan Library & Museum, New York originality of an incredibly vibrant period. The All works: Photography by Graham S. Haber exhibition will be on view from September 27, 2013–January 5, 2014. “In the eighteenth century, as the illustrious history of the thousand-year-old Venetian Republic was coming to a close, the city was favored with an array of talent that left a lasting mark on western art,” said William M.
    [Show full text]
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • European Art & Old Masters (1577) Lot 68
    European Art & Old Masters (1577) June 12, 2017 EDT, Main Floor Gallery Lot 68 Estimate: $50000 - $70000 (plus Buyer's Premium) HUBERT ROBERT (FRENCH 1733-1808) PAYSAGE AVEC UNE STATUE ÉQUESTRE Signed with initials 'H.R.' and dated '1780' on stone tablet at bottom center left, oil on canvas 22 x 35 in. (55.9 x 88.9cm) Provenance: Collection of Leon M. Lowenstein, Paris, France (1935). Galerie Jean Charpentier, Paris, sale of Collection of Leon M. Lowenstein, December 17, 1935, lot 76. Private Collection, Paris, France. Hôtel Drouot, Paris, sale of June 23, 24 and 25, 1921, lot 83. Palais Galliera, Paris, sale of March 31, 1966, lot 32. Palais Galliera, Paris, sale of March 28, 1968, lot 58. Property from the Daniel W. Dietrich II Foundation. LITERATURE: Galerie Jean Charpentier, In the Collection of Leon M. Lowenstein, exhibition catalogue, December 17, 1935, p. 32, no. 76 (illustrated). NOTE: Earning the nickname 'Robert des Ruines' ("Robert of Ruins"), Hubert Robert is considered amongst the most important painters of architectural ruins and capriccios (imaginary landscapes) in 18th century France. His paintings were particularly popular with French aristocracy, undoubtedly helped by his father Nicolas Robert being an upper-servant to the Marquis of Choiseul-Stainville. By the 1770s, Robert had received the appointment of Draftsman and Designer of the King's Gardens. He also designed gardens for the Marquis de Laborde and the Marquis de Girardin, and the philosopher Voltaire commissioned him to paint decorations for his theater at Ferney. Robert received a classical education at the Collège de Navarre in Paris, and later with the entourage of the Count of Stainville in Rome in 1754.
    [Show full text]
  • Classical Rhetoric and the Institutional Fine Arts in Nineteenth-Century Boston Deborah Stein
    SEQUITUR. we follow art 1 of 6 Classical Rhetoric and the Institutional Fine Arts in Nineteenth-Century Boston Deborah Stein Detail of Giovanni Paolo Panini, Modern Rome, 1757, oil on canvas, 67 ¾ x 91 ¾ in., Metropolitan Museum of Art, New York City (Credit Line: Gwynne Andrews Fund, 1952), www.metmuseum.org. On July 4, 1876, the Museum of Fine Arts, Boston, located in a purpose-built Ruskinian Gothic building in Copley Square, opened its doors for the first time to an enthusiastic public. [1] The day was doubly celebratory as it was also the nation’s centennial. Visitors were greeted throughout the Museum by a display of diverse art objects largely borrowed from institutional lenders, most particularly the classically- oriented painting and sculpture collections of the Boston Athenaeum, which had been to that point the city’s leading arts organization. In addition to the Athenaeum’s collection, there were Renaissance and Baroque engravings as well as collections of Egyptian, Cypriot, and Italian antiquities. Also on view was a collection of eighty-six plaster casts, many of them sourced from European manufacturers, intended to visually represent the history of antique sculpture. [2] The artworks in the Museum on its opening day reflect, in their inspiration and encyclopedic quality, the centrality of classical rhetoric in Boston’s cultural infrastructure. The study of classical rhetoricians and the application of their teachings to both written and oral expression had been viewed by Boston’s elite as the route to authority in the city since the Puritans established the Boston Latin School and Harvard College in 1635 and 1636, respectively.
    [Show full text]
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
    [Show full text]
  • Giovanni Paolo Panini Architetto in Santa Maria Della Scala a Roma
    ArcHistoR anno VII (2020) n. 14 Giovanni Paolo Panini architetto in Santa Maria della Scala a Roma David R. Marshall (University of Melbourne) Il progetto architettonico della cappella di Santa Teresa nella chiesa di Santa Maria della Scala in Trastevere (1734-1745) è stata attribuita a Giovanni Paolo Panini, notissimo pittore, sia a suo figlio Giuseppe, architetto, poi autore delle cantorie e della bussola all’ingresso principale (1756). Questo articolo conferma l’attribuzione del progetto della cappella − nonché del disegno del pavimento marmoreo della chiesa − a Giovanni Paolo, che prestò i suoi servizi gratuitamente per i committenti carmelitani scalzi. Già prima del 1732, il priore fra Bernardo di San Tommaso d’Aquino ottenne da Panini un modello (forse per le pareti laterali) per il rifacimento delle preesistenti decorazioni lignee della cappella. Il 25 marzo 1733 il contratto stipulato dallo scultore Camillo Zaccaria faceva riferimento al progetto e alla direzione di Panini. Il progetto, approvato il 26 giugno 1734, doveva essere attuato con un lascito testamentario del cardinale Alessandro Falconieri, titolare della chiesa, con il supporto del Cardinale Vicario di Roma, Giovanni Antonio Guadagni, carmelitano scalzo. I lavori procedettero secondo i piani di Panini, anche se nel 1735 si decise di sostituire con decorazioni in rilievo gli specchi inizialmente da lui ideati per le pareti laterali. Nel maggio 1737 furono poste in opera le due colonne di verde antico al lato destro dell’altare, che fu consacrato solo il 2 ottobre 1745 dal cardinale Guadagni, al termine delle opere di decorazione che videro impegnati scultori primari come Giuseppe Lironi, Filippo Della Valle, Giovanni Battista Maini e Michelangelo Slodtz.
    [Show full text]
  • 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.
    [Show full text]
  • The National Gallery Review of The
    TH E April – March NATIONAL GALLEY NATG028_P0001EDngReview2012_13August.indd 1 14/08/2012 14:22 NATG028_P0002EDngReview2012_21August.indd 2 21/08/2012 09:43 TH E NATIONAL GALLEY April – March NATG028_P0002EDngReview2012_21August.indd 3 21/08/2012 09:43 Contents Introduction 5 Director’s Foreword 6 Sir Denis Mahon (1910–2011) 7 Acquisitions 12 Loans 18 Conservation 28 Framing 34 Exhibitions and Displays 38 Education 50 Scientifi c Research 54 Research and Publications 58 Private Support of the Gallery 62 Trustees and Committees of the National Gallery Board 66 Financial Information 66 National Gallery Company Ltd 68 Cracks and Age in Paintings 70 For a full list of loans, staff publications and external commitments between April 2011 and March 2012, see www.nationalgallery.org.uk/about-us/organisation/ annual-review NATG028_P0004EDngReview2012_13August.indd 4 14/08/2012 14:26 – – will be remembered as a historic year for followed by donations to the National Gallery the National Gallery, and not least as the year in from many of our major supporters, whose which we enjoyed our most successful exhibition generosity is acknowledged elsewhere in this to date, in the form of Leonardo da Vinci: Painter at Review. We also acknowledge with thanks the the Court of Milan. The exhibition, which brought contribution of the Duke of Sutherland, who together for the fi rst time Leonardo’s two versions agreed to a reduction in the originally agreed of his great masterpiece The Virgin of the Rocks and price, to make the purchase possible. received almost universal critical acclaim, saw the In order to secure the acquisition, the National public queuing for admittance in Trafalgar Square Gallery Board took the wholly unprecedented step from the early hours of the morning.
    [Show full text]
  • Student No.: 3441784 RMA Art History of the Low Countries in Its European Context Utrecht University Master Thesis July 2011
    Student no.: 3441784 RMA Art History of the Low Countries in its European Context Utrecht University Master thesis July 2011 Supervisor: prof. dr. R.E.O. Ekkart Second reader: prof. dr. P.A. Hecht “Gemeenlijck sietmen in de Ieucht, alsmer met goet oordeel op acht, aen de manier van doen en wesen, waer toe de kinderen gheneghen zijn, en wat sy in hun ouderdom te worden hebben.” Karel van Mander, Het Schilder-Boeck , Haarlem 1604, fol. 111r. 2 TABLE OF CONTENTS ACKNOWLEDGMENTS 5 INTRODUCTION 6 The Historiography of Children in Dutch Art 6 Aims and Structure 9 Practices in Child Portraiture 10 1 FLINCK’S PORTRAIT OF A BOY : A PAINTING IN FOCUS 14 ‘Slecht ghekleed’: the Costume of a Mennonite 15 The Pair of Gloves as a Symbol of Status 17 The Landscape, the Pose and the Cane 19 Problems of Identification: David Leeuw (1631/32-1703) as a Suggestion 19 The Possible Provenance of the Painting 21 The Context of Patronage: Leeuw and Flinck 23 A Mennonite Painting in Flinck’s Early Career 25 2 CONVENTIONS IN PORTRAITURE: 29 SOCIAL MESSAGES AND PICTORIAL FORM Approaches to Portraiture: Production and the Broader Context 29 Mechanisms of Convention in Adult Portraiture 30 The Significant Role of the Artist 33 Children and Social Messages versus Pictorial Form 34 3 CHILDREN AS ‘MINIATURE ADULTS’: 36 AMBITION, FASHION AND FORMAL IMITATION Adults and Children: An Ambiguous Relation 37 The Pastoral Portrait and Courtly Ambitions 38 Holland instead of Arcadia: Portraits in Contemporary Landscapes 39 Landscape and Notions of Status in the Seventeenth Century
    [Show full text]
  • Annual Report 2000
    2000 ANNUAL REPORT NATIONAL GALLERY OF ART 2000 ylMMwa/ Copyright © 2001 Board of Trustees, Cover: Rotunda of the West Building. Photograph Details illustrated at section openings: by Robert Shelley National Gallery of Art, Washington. p. 5: Attributed to Jacques Androet Ducerceau I, All rights reserved. The 'Palais Tutelle' near Bordeaux, unknown date, pen Title Page: Charles Sheeler, Classic Landscape, 1931, and brown ink with brown wash, Ailsa Mellon oil on canvas, 63.5 x 81.9 cm, Collection of Mr. and Bruce Fund, 1971.46.1 This publication was produced by the Mrs. Barney A. Ebsworth, 2000.39.2 p. 7: Thomas Cole, Temple of Juno, Argrigentum, 1842, Editors Office, National Gallery of Art Photographic credits: Works in the collection of the graphite and white chalk on gray paper, John Davis Editor-in-Chief, Judy Metro National Gallery of Art have been photographed by Hatch Collection, Avalon Fund, 1981.4.3 Production Manager, Chris Vogel the department of photography and digital imaging. p. 9: Giovanni Paolo Panini, Interior of Saint Peter's Managing Editor, Tarn Curry Bryfogle Other photographs are by Robert Shelley (pages 12, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce 18, 22-23, 26, 70, 86, and 96). Fund, 1968.13.2 Editorial Assistant, Mariah Shay p. 13: Thomas Malton, Milsom Street in Bath, 1784, pen and gray and black ink with gray wash and Designed by Susan Lehmann, watercolor over graphite, Ailsa Mellon Bruce Fund, Washington, DC 1992.96.1 Printed by Schneidereith and Sons, p. 17: Christoffel Jegher after Sir Peter Paul Rubens, Baltimore, Maryland The Garden of Love, c.
    [Show full text]