Aarbøger for Nordisk Oldkyndighed Og Historie
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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. -
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. -
Professor Dr. Michelle Facos
Professor Dr. Michelle Facos Alfried Krupp Junior Fellow Oktober 2010 – September 2011 The Copenhagen Academy and artistic (Gedanken über die Nachahmung der grie- Kurzbericht innovation circa 1800 chischen Werke in Malerei und Bildhauer- kunst, 1755) conceptually rather than lite- In the late eighteenth and early nineteenth rally, and centuries several painters and sculptors who studied at the Copenhagen Academy of Art 3) the political mandate to create a distinct- (Det Kongelige Danske Kunstakademi) pro- ly Danish school of art. The works of pain- duce inventive art works that transgressed ters Nicolai Abildgaard, Jens Juel, Christof- contemporary norms and anticipated broader fer Eckersberg, and Caspar David Friedrich, artistic trends by decades. This was due in lar- and the sculptor and Winckelmann protégé Kurzvita Michelle Facos was born in Buffalo 1955. (California, 2008) and An Introduction to ge part to the singular confluence of several Johannes Wiedewelt evidence the indepen- She is professor of the History of Art and Nineteenth-Century Art (Routledge 2011). factors: dent creativity that would later become the adjunct professor of Jewish Studies at Indi- Michelle Facos has received awards from 1) a visual practice that emphasized careful- hallmark of modern artistic practice and ana University, Bloomington, where she has the American-Scandinavian Foundation, the ly observing and recording the natural world which are often attributed to French artists. taught since 1995. She received her Ph.D. in American Philosophical Society, Fulbright, (partly the result of the Institute for Natural 1989 from the Institute of Fine Arts, New and the Alexander von Humboldt-Stiftung. History being housed in the same building, York University with a dissertation entitled Charlottenborg Palace, as the Art Academy), Nationalism and the Nordic Imagination: Swedish Art of the 1890s. -
Ontdek Schilder, Hofkunstenaar, Tekenaar Johan Mandelberg
52255 Johan Mandelberg man / Deens schilder, hofkunstenaar, tekenaar, decoratieschilder, verzamelaar van Hollandse en Vlaamse schilderkunst Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Mandelberg, Johan Edvard Kwalificaties schilder, hofkunstenaar, tekenaar, decoratieschilder, verzamelaar van Hollandse en Vlaamse schilderkunst Nationaliteit/school Deens Geboren Oostzee 1730-01-22 He was born on board a ship crossing from Stockholm to Livonia. Overleden Kopenhagen 1786-01-08 Verder zoeken in RKDartists& Geboren 1730-01-22 Sterfplaats Kopenhagen Plaats van werkzaamheid Stockholm Plaats van werkzaamheid Parijs Plaats van werkzaamheid Rome Plaats van werkzaamheid Florence Plaats van werkzaamheid Bologna Plaats van werkzaamheid Venetië Plaats van werkzaamheid Augsburg Plaats van werkzaamheid Kassel (Hessen) Plaats van werkzaamheid Hamburg Plaats van werkzaamheid Kopenhagen Kwalificaties schilder Kwalificaties hofkunstenaar Kwalificaties tekenaar Kwalificaties decoratieschilder Kwalificaties verzamelaar van Hollandse en Vlaamse schilderkunst Onderwerpen diervoorstelling (genre) Onderwerpen genrevoorstelling Onderwerpen marine (als genre) Onderwerpen militairengenre Onderwerpen veldslag Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Stockholm 1744 - 1752 home-trained by his father (Saur 2015) Parijs 1752-08 - 1755 With financial support of Swedish patrons together with the Danish Medalist Magnus Gustav Arbien in Paris from August 1752; through the recommendation of Carl Gustaf Pilos he found access to the circle around the Comte de Caylus. Alexander Roslin introduced him to his friend François Boucher, in whose workshop he worked as a decorative painter. -
Imagines-Number-2-2018-August
Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero Andrea Biotti, Patrizia Naldini, Marianna Petricelli Traduzioni: Eurotrad con la supervisione di Giovanna Pecorilla ISSN n. 2533-2015 2 august 2018 index n. 2 (2018, August) 6 EIKE SCHMIDT Digital reflexions 10 SILVIA MASCALCHI School/Work programmes at the Uffizi Galleries. Diary of an experience in progress 20 SIMONE ROVIDA When Art Takes Centre Stage. Uffizi Live and live performance arts as a means to capitalise on museum resources 38 ELVIRA ALTIERO, FEDERICA CAPPELLI, LUCIA LO STIMOLO, GIANLUCA MATARRELLI An online database for the conservation and study of the Uffizi ancient sculptures 52 ALESSANDRO MUSCILLO The forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings 84 ADELINA MODESTI Maestra Elisabetta Sirani, “Virtuosa del Pennello” 98 CARLA BASAGNI PABLO LÓPEZ MARCOS Traces of the “Museo Firenze com’era in the Uffizi: the archive of Piero Aranguren (Prato 1911- Florence 1988), donated to the Library catalog 107 FABRIZIO PAOLUCCI ROMAN ART II SEC. D. C., Sleepimg Ariadne 118 VINCENZO SALADINO ROMAN ART, Apoxyomenos (athlete with a Scraper) 123 DANIELA PARENTI Spinello Aretino, Christ Blessing Niccolò di Pietro Gerini, Crocifixion 132 ELVIRA ALTIERO Niccolò di Buonaccorso, Presentation of the Virgin in the Temple n.2 | august 2018 Eike Schmidt DIGITAL REFLEXIONS 6 n Abbas Kiarostami’s film Shirin (2008), sing questions of guilt and responsibility for an hour and a half we see women – would have been superimposed upon Iin a theatre in Iran watching a fictio- its famous first half, the action-packed nal movie based on the tragic and twi- Nibelungenlied (Song of the Nibelungs). -
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 -
Un'impresa Culturale E Commerciale
Scuola Dottorale in CULTURE DELLA TRASFORMAZIONE DELLA CITTÀ E DEL TERRITORIO Sezione STORIA E CONSERVAZIONE DELL ’OGGETTO D ’ARTE E D’ARCHITETTURA XXIII CICLO Un’impresa culturale e commerciale: la Calcografia Piranesi da Roma a Parigi (1799-1810) Valeria Mirra TUTOR Prof. Liliana Barroero Prof. Orietta Rossi Pinelli COORDINATORE Prof. Barbara Cinelli A. A. 2010/2011 INDICE Introduzione 4 1. La Calcografia Piranesi dopo Giovanni Battista: l’influenza, l’eredità 13 1.1 L’eredità materiale e spirituale raccolta da Francesco e Pietro Piranesi 16 1.2 La Calcografia Piranesi dalla morte di Giovanni Battista alla Repubblica Romana (1778-1798) 43 2. Il trasferimento della Calcografia Piranesi da Roma a Parigi: i progetti, le collaborazioni 61 2.1 I fratelli Piranesi a Parigi: rapporti culturali e rapporti politici 63 2.2 Il Prospectus dell’anno VIII (1800) : i progetti dei fratelli Piranesi e le nuove collaborazioni 89 3. La Calcografia Piranesi a Parigi: un’impresa culturale e commerciale 99 3.1 “Académie des Beaux-arts” o “Accademia d’industria” ? 100 3.1.1 Un giovane artista dalle grandi speranze: Pietro Cardelli (1776-1822) allievo dell’Accademia di Belle Arti dei Piranesi 123 3.2 La produzione dei Dessins coloriés 127 3.3 Labor omnia vincit . La manifattura di vasi e ornamenti di architettura in terracotta a Mortefontaine 161 4. La fine della Calcografia dei “frères Piranesi” (1807-1810) 188 4.1. L’uscita dalla società di Pietro Piranesi e i nuovi progetti di Francesco 188 4.2. Il fallimento economico dell’impresa Piranesi e la morte di Francesco (1810) 195 Appendice documentaria I. -
Rome in the 18R.Li Century
fl urn Rome in the 18r.li Century •ii" On the cover: Giovanni Battista Piranesi Detail of the Fontana di Trevi WS'? 0FP/C6- SLIDE UBRARY Artists in Rome in the 18th Century: Drawings and Prints The Metropolitan Museum of Art February 28 - May 7, 1978 Copyright © 1978 by The Metropolitan Museum of Art • This exhibition has been made possible through <^ a grant from the Esther Annenberg Simon Trust V V The drawings, prints, and oil sketches brought together for this exhibition offer eloquent testimony to the rich diversity of artistic activity in eighteenth-century Rome. They are the work of artists of many nationalities—Italian, French, English, Dutch, Flemish, and German—but all were executed in Rome in the course of the century. The city retained in the 1700's its position as a major artistic center, though outdistanced by Paris for first place. Rome continued to be the city to which artists came to learn, by studying and copying the ruins of Classical Antiquity and the great works of the Renaissance and Baroque periods. Papal and princely patronage continued to attract artists from all Europe, but commissions were no longer on the very grand scale of previous centuries. History painting remained a Roman specialty, occupying the highest rank in the hierarchy of painting. Preparatory drawings for major projects by Giuseppe Chiari, Pompeo Batoni, Benedetto Luti, and the Frenchman Pierre Subleyras document this side of Roman production. Sculpture flourished—witness drawings by Pietro Bracci and Camillo Rusconi for important tombs, and Luigi Vanvitelli's designs for the throne of St. -
A National Collection on the Drawing Board. Centres for the Collection of Danish Drawings 1810–45 | Perspective
21/2/2018 A national collection on the drawing board. Centres for the collection of Danish drawings 1810–45 | Perspective P E R S P E C T I V E A national collection on the drawing board. Centres for the collection of Danish drawings 1810–45 e idea of having a central collection of Danish drawings rst arose back in the rst half of the nineteenth century, and the earliest overtures for such a collection continue to have a great impact on our perception of Danish draughtsmanship today. By Jesper Svenningsen Published December 2017 R E S U M É Even before there was talk of a central collection of drawings and ne-art prints – what would eventually become the Royal Collection of Graphic Art in 1835 (Den kgl. Kobberstiksamling, formerly known as e Royal Collection of Prints and Drawings) – Danish drawings were already being collected on a grand scale. During the period 1810 to 1832, the Royal Danish Academy of Fine Arts built a large collection of recent Danish drawings, and the director of the Royal Picture Gallery, J.C. Spengler, personally collected sheets by older artists. is article delves into the history of these two predecessors of the Royal Collection of Graphic Art and how they impacted the overall denition and perception of Danish draughtsmanship. A R T I C L E In the early nineteenth century, Denmark had no main, central collection of drawings. e Royal Reference Library supposedly held a number of drawings which were all lost in the great re of Christiansborg Palace in 1794.1 Another collection of drawings could be found as part the large collection of graphic arts in the greater Royal Library, but this collection was never (or only very rarely) added to and suffered a rather languished existence overall. -
Visual Representations of Norse Mythology in 19Th Century Scandinavia
Greek gods in Northern costumes: Visual representations of Norse mythology in 19th century Scandinavia Hans Kuhn Australian National University Northern mythology, long the province of antiquarians and scholars, was in the 19th century claimed as a regional heritage in the Scandinavian countries, and the rising tide of nationalism and an eagerness to extend education to all classes combined to make it a focus not only of literary efforts but also of pictorial representation. This was not easy, for the academies in Copenhagen and Stockholm, where artists were trained, had their own entrenched traditions deriving from the period of the Renaissance. Figure painting and sculpture were the most valued genres, and the subject matter was to be taken, in academies all over Europe, either from the Bible (or, in Catholic countries, saints’ lives) or from Classical history and mythology. In the second half of the 18th century, Winckelmann’s writings and the excavations at Pompei and Herculaneum strengthend the Greco-Roman connection and led to Neoclassicism becoming the dominant style for a few decades into the 19th century. 209 210 Hans Kuhn The lucid rationality and practicality of the Enlightenment period produced cravings for things ancient, dark and mysterious, as the success of Bishop Percy’s Reliques and Macpherson’s Ossian showed; Celtic and Nordic were seen as part of the same misty Northern world. The Dane Abildgaard and the Swiss Füssli/Fusely, friends in Rome in the 1770s, painted a number of scenes from Ossian but occasionally also from Nordic mythology. Abildgaard’s scene from Snorri’s account of the creation of the world shows a Michelangelesque giant †mir suckled by Au›humla, a Brahmin-type cow licking a salty rock from which the first human being, Bure, will emerge (1). -
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. -
Summer Gardens & Castles in Denmark & Sweden
American Horticultural Society Travel Study Program SUMMER GARDENS & CASTLES IN DENMARK & SWEDEN July 15–26, 2019 WITH AHS HOST TERRY HAYES AND TOUR LEADER ANTONIA LLOYD OWEN OF SPECIALTOURS Dear Friends of the American Horticultural Society, I personally invite you to join our latest AHS tour, “Summer Gardens & Castles in Denmark & Sweden,” July 15 to 26, 2019. The trip is so chock-full of delightful experiences that I had to omit many highlights from this brief overview, so be sure to peruse the full itinerary. We’ll begin in Copenhagen, Denmark’s capital and a gastronomic overachiever with a combined 19 Michelin stars. The United Nations’ World Happiness Report has rated Denmark number one — yes, the happiest place on Earth — three times in the past six years, and I’m sure this charming country will have the same effect on you. As the tour’s title indicates, spectacular gardens and equally fabulous castles and palaces will vie for your attention. For instance, while Sweden’s Sofiero Palace is impressive in its own right, I know you will be equally enchanted by its vaunted rhododendron gardens, which feature more than 400 different species and varieties. How often do you get to see a nearly extinct species? Among the many wonders we’ll behold at Gothenburg Botanical Garden — one of the largest and most beautiful in northern Europe — is the rare Easter Island tree, which no longer exists in its native environment. We’ll receive the royal treatment at Drottningholm Palace, the residence of the Swedish royal family. This magnificent Baroque palace, theater, park, and Chinese Pavilion constitutes one of Stockholm’s three World Heritage Sites.