Enthroned Madonna and Child C
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Madonna and Child on a Curved Throne C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Byzantine 13th Century Madonna and Child on a Curved Throne c. 1260/1280 tempera on linden panel painted surface: 82.4 x 50.1 cm (32 7/16 x 19 3/4 in.) overall: 84 x 53.5 cm (33 1/16 x 21 1/16 in.) framed: 90.8 x 58.3 x 7.6 cm (35 3/4 x 22 15/16 x 3 in.) Andrew W. Mellon Collection 1937.1.1 ENTRY The painting shows the Madonna seated frontally on an elaborate, curved, two-tier, wooden throne of circular plan.[1] She is supporting the blessing Christ child on her left arm according to the iconographic tradition of the Hodegetria.[2] Mary is wearing a red mantle over an azure dress. The child is dressed in a salmon-colored tunic and blue mantle; he holds a red scroll in his left hand, supporting it on his lap.[3] In the upper corners of the panel, at the height of the Virgin’s head, two medallions contain busts of two archangels [fig. 1] [fig. 2], with their garments surmounted by loroi and with scepters and spheres in their hands.[4] It was Bernard Berenson (1921) who recognized the common authorship of this work and Enthroned Madonna and Child and who concluded—though admitting he had no specialized knowledge of art of this cultural area—that they were probably works executed in Constantinople around 1200.[5] These conclusions retain their authority and continue to stir debate. -
BYZANTINE CAMEOS and the AESTHETICS of the ICON By
BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production. -
Gold-Ground Panel Painting Author Tie Jojima
Gold-ground Panel Painting Author Tie Jojima Video documenting gold-ground panel painting produced by the Getty Museum: https://www.youtube.com/watch?v=WVyusmjiTXI&t=9s This video produced by the Getty museum, provides the steps involved in the creation th of 16 century altarpiece panels made with gold leaves and tempera painting. The video narrates each of the steps, focusing on the craftsmanship and different materials. This is a good teaching resource to complement a lecture on the Early Renaissance because it helps the students to appreciate craftsmanship and skills involved in the creation of altarpieces, and it generates discussions on the value and cultural significance of those works. At the end of this class and after showing the video, if there is enough time, I like to show contemporary examples of artists utilizing gold leaf, such as Barkley Hendricks’ Lawdy Mama (1969) and Chris Ofili’s The Holy Virgin Mary (1996), and open for discussion on the different meanings of gold, past and present. Learning Goals: After completion of this assignment, students will be able to: - Explain the technical and material aspects of gold-ground panel painting. - Analyze how the technique influences the resulting artwork. Activity - During a class on the Early Renaissance, while looking at altarpieces by Cimabue or Giotto, I explain tempera painting and the process of gold leaf application in general terms. - After the lecture, students watch the Gerry Museum video on gold-ground panel painting, while working on a series of guiding questions that direct them during the video (sample attached) - After the video, we discuss as a class about what surprised them in the process, and how technique might influence the resulting artwork. -
The Circumcision
1969 Washington: no. 20. by 1669.2 Probably Isaak van den Blooken, the Netherlands, 1974 Hasselgren: in, 127, 131, 195, 198, no. G 53, by 1707; (sale, Amsterdam, 11 May 1707, no. 1). Duke of repro. Ancaster, by 1724;3 (sale, London, March 1724, no. 18); 1975 NGA: 284, 285, no. 77, repro. Andrew Hay; (sale, Cock, London, 14 February 1745, no. 1978 Bolten and Bolten-Rempt: 202, no. 549, repro. 47); John Spencer, 1st Earl of Spencer [1734-1783], Althorp 1984/1985 Schwartz: 339, no. 396, repro. (also 1985 House; inherited through family members to John Poyntz, English ed.). 5th Earl of Spencer [1835-1910]; (Arthur J. Sulley & Co., 1985 NGA: 330, repro. London); Peter A. B. Widener, Lynnewood Hall, Elkins 1986 Sutton: 314. Park, Pennsylvania, by 1912; inheritance from Estate of 1986 Tumpel: 413, no. 217, repro. Peter A. B. Widener by gift through power of appointment 1986 Guillaud and Guillaud: 362, no. 416, repro. of Joseph E. Widener, Elkins Park. 1990 The Hague: no. 53. Exhibited: Exhibition of Paintings, Leeds Art Gallery, Leeds, 1868, no. 735. Rembrandt: Schilderijen Bijeengebracht ter Ge- lengenheid van de Inhuidiging van Hare Majesteit Koningin Wil- 1942.9.60 (656) helmina, Stedelijk Museum, Amsterdam, 1898, no. 115. Winter Exhibition of Works by Rembrandt, Royal Academy, Lon don, 1899, no. 5. Washington 1969, no. 22. Rembrandt and the Rembrandt van Rijn Bible, Fukuoka Art Museum, Fukuoka; National Museum of Modern Art, Kyoto, 1987, no. 11. The Circumcision 1661 THE ONLY MENTION of the Circumcision of Christ Oil on canvas, 56.5 x 75 (22/4 x 29/2) occurs in the Gospel of Luke, 2:15-22: "...the Widener Collection shepherds said one to another, Let us now go even Inscriptions unto Bethlehem And they came with haste, and At lower right: Rembrandt, f 1661 found Mary and Joseph, and the babe lying in a manger— And when eight days were accomplished Technical Notes: The original support, a medium-weight, for the circumcising of the child, his name was called loosely woven, plain-weave fabric, has been lined with the tacking margins unevenly trimmed. -
History of Encaustic
THE HISTORY OF ENCAUSTIC Wax is an excellent preservative of materials. The Greeks applied coatings of wax and pitch to weatherproof their ships. Pigmenting the wax gave rise to the decorating of warships and merchant ships. The use of a rudimentary encaustic was an established practice in the Classical Period (500-323 BC). It is possible that at about that time the crude paint applied with tar brushes to the ships was refined for the art of painting on panels. ENCAUSTIC AND TEMPERA Encaustic on panels rivaled that of tempera in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow involved technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly lifelike. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Pliny refers to encaustic paintings several hundred years old in the possession of Roman aristocrats of his own time. ENCAUSTIC IN SCULPTURE We know that the white marble we see today in the monuments of Greek antiquity was once colored, either boldly or delicately and that wax was used to both preserve and enhance that marble (see "Polychromy in Greek Sculpture" below). The literary evidence of how this was done is scant. The figures on the Alexander Sarcophagus in the archeological Museum of Istanbul are an example of such coloration, although it is not clear how intense the original color was. The methods used to color the marble probably varied. -
IJERE-Technical Experience with Tempera Paintings in a Bachelor
International Journal of Evaluation and Research in Education (IJERE) Vol. 10, No. 1, March 2021, pp. 245~254 ISSN: 2252-8822, DOI: 10.11591/ijere.v10i1.20667 245 Technical experience with tempera paintings in a bachelor degree course in Turkey Gonca Erim1, Ismail Tetikci2, Remziye Ersoy3 1,2Department of Visual Arts Education, Bursa Uludag University, Turkey 3Fine Arts Education Master Degree, Bursa Uludag University, Turkey Article Info ABSTRACT Article history: This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education Received Apr 14, 2020 undergraduate students, and to determine the effects on the participants after Revised Dec 29, 2020 the application. The study consists of the findings and results of the first and Accepted Jan 26, 2021 second research questions in the master thesis “Tempera technique and its use in the course of painting courses on undergraduate level.” In this study the “case study” pattern was used, and is one of the qualitative research Keywords: approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Art education Education in the 2018-2019 academic year. The data collection tools of Medieval art literature review and two interview forms interview were used. The findings Painting panels obtained were evaluated by thematic analysis technique. According to the Painting practices findings obtained in the research, it was observed that the participants did not Tempera have prior knowledge about the tempera technique before oral presentation and application. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Kreinath, Jens. "Aesthetic Sensations of Mary: the Miraculous Icon Of
Kreinath, Jens. "Aesthetic Sensations of Mary: The Miraculous Icon of Meryem Ana and the Dynamics of Interreligious Relations in Antakya." Figurations and Sensations of the Unseen in Judaism, Christianity and Islam: Contested Desires. By Birgit Meyer and Terje Stordalen. London: Bloomsbury Academic, 2019. 154–171. Bloomsbury Studies in Material Religion. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350078666.0017>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 12:16 UTC. Copyright © Birgit Meyer, Terje Stordalen and Contributors. This Work is licensed under the Creative Commons License. 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 8 Aesthetic Sensations of Mary: Th e Miraculous Icon of Meryem Ana and the Dynamics of Interreligious Relations in Antakya1 J e n s K r e i n a t h Introduction Antakya – formerly Antioch – is the southernmost city of Turkey, known for its religious and ethnic diversity, with its people belonging to diff erent Christian and Muslim denominations. It is situated with the Mediterranean to the west and borders Syria to the east and south (see Figure 8.1 ). In 1939, Hatay was the last province to offi cially become part of the Republic of Turkey ( Shields 2011 : 17–47, 143–75, 232–49). Now, the ethnically diverse population of about 1.5 million is primarily composed of people of Turkish and Arab descent. With its unique blend of diff erent languages and cultures, Hatay became known for its religious tourism industry. -
Maestà (Madonna and Child with Four Angels) C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle. -
Egg Tempera Technique
EGG TEMPERA MISCONCEPTIONS By Koo Schadler "Egg tempera is a simple, cheap, easy-to-use technique that produced gorgeous effects...Yet nobody seems to know it." Robert Vickrey (1926-2011) There are many misconceptions regarding egg tempera, and reasons for their existence and persistence. A superficial understanding of tempera limits its potential. This handout hopes to dispel some of the myths. THE REASONS FOR MISCONCEPTIONS Reason #1: The Influence of the Renaissance Egg tempera reached its peak of popularity and achievement in the early Renaissance (approximately 1400- 1450) in Italy, and is notably associated with that time and place. Most Italian, early Renaissance paintings present a less naturalistic, more idealized rendering of the world: minimal light and shadow effects; more high-key (light) values; purer, less dirtied color; cooler color temperatures; less fully three-dimensional forms. For the most part these visual choices are not inevitable to egg tempera. Instead they reflect the less realistic, more spiritually oriented medieval perspective still present in early 1400s Italy (consequently changed by the Renaissance). Because most of these paintings were done in egg tempera, people presume the medium (rather than the culture and its thinking) accounts for this aesthetic. Misconceptions also arise from egg tempera’s association with Italian Renaissance working methods. Masters and guilds taught a successful but prescribed way of developing a painting. Its not the only way to work in tempera, but often is presented as such. Reason #2: Egg Tempera’s Disappearance Renaissance artists aspired to increasing realism in images. Oil painting has advantages (described in Misconception #7) over tempera in depicting the material world and, by the late 1400s, oil became the predominate medium of the Renaissance. -
Printed in Amsterdam, 1980), 2:220
Self-Portrait of an Artist Seated at an ca. 1653 Easel oil on panel with arched top 29.7 x 24.8 cm Attributed to Cornelis Bisschop LS-100 (Dordrecht 1630 – 1674 Dordrecht) © 2021 The Leiden Collection Self-Portrait of an Artist Seated at an Easel Page 2 of 7 How to cite Yeager-Crasselt, Lara. “Self-Portrait of an Artist Seated at an Easel” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/self-portrait-of-an-artist-seated-at-an-easel/ (accessed October 01, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Self-Portrait of an Artist Seated at an Easel Page 3 of 7 Seated before a panel painting resting on his easel, a young painter turns Comparative Figures toward the viewer with his arm casually propped on the back of his chair.[1] With slightly parted mouth and searching, wide-eyed gaze, the artist is portrayed with an air of immediacy and informality. Except for a small table in the left background, the studio is bare and unadorned, its simplicity evident even in the worn, mottled wood of the artist’s chair. A strong light entering from the left creates sharp highlights on the man’s mustard-colored blouse and violet beret, and illuminates the thin ties of his cyan blue painter’s robe where it hangs over the back of the chair. -
Gilding in the Fifteenth-Century: a Multi-Analytical Investigation
heritage Article The “oro di metà” Gilding in the Fifteenth-Century: A Multi-Analytical Investigation Iacopo Osticioli 1,* , Laura Capozzoli 2, Barbara Salvadori 3 , Martina Banchelli 1 , Alessandro Lavacchi 2, Paolo Matteini 1 , Salvatore Siano 1 and Loredana Gallo 4 1 Institute of Applied Physics “Nello Carrara” (IFAC)-National Research Council (CNR), 50019 Sesto Fiorentino (FI), Italy; [email protected] (M.B.); [email protected] (P.M.); [email protected] (S.S.) 2 Institute of Chemistry of Organometallic Compounds (ICCOM)-National Research Council (CNR), 50019 Sesto Fiorentino (FI), Italy; [email protected] (L.C.); [email protected] (A.L.) 3 Institute for the Conservation and Valorization of Cultural Heritage (ICVBC)-National Research Council (CNR), 50019 Sesto Fiorentino (FI), Italy; [email protected] 4 Gallo Restauro, 50129 Florence, Italy; [email protected] * Correspondence: [email protected] Received: 12 March 2019; Accepted: 15 April 2019; Published: 18 April 2019 Abstract: Few and fragmentary is the information regarding the “oro di metà” (halfway gold) gilding due to the low probability of finding it in paintings as well as its short durability because of tarnishing. However, the very rare, excellent state of conservation of the gilding found in the fifteenth-century wood panel painting of the Master of St. Ivo studied in this work along with a multi-analytical approach allowed shedding light on the structure, the composition and the conservation state of this type of gilding. An Ultra-High Resolution Scanning Electron Microscope (UHR-SEM) along with Energy Dispersive X-Ray (EDX) analysis and polarised light Optical Microscopy (OM) were employed in order to image and analyse a cross-section of a sample taken from the wood panel painting.