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Book of Abstracts: Studying Old Master Paintings
BOOK OF ABSTRACTS STUDYING OLD MASTER PAINTINGS TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE 1618 September 2009, Sainsbury Wing Theatre, National Gallery, London Supported by The Elizabeth Cayzer Charitable Trust STUDYING OLD MASTER PAINTINGS TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE BOOK OF ABSTRACTS 1618 September 2009 Sainsbury Wing Theatre, National Gallery, London The Proceedings of this Conference will be published by Archetype Publications, London in 2010 Contents Presentations Page Presentations (cont’d) Page The Paliotto by Guido da Siena from the Pinacoteca Nazionale of Siena 3 The rediscovery of sublimated arsenic sulphide pigments in painting 25 Marco Ciatti, Roberto Bellucci, Cecilia Frosinini, Linda Lucarelli, Luciano Sostegni, and polychromy: Applications of Raman microspectroscopy Camilla Fracassi, Carlo Lalli Günter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege, Christoph Haisch Painting on parchment and panels: An exploration of Pacino di 5 The use of blue and green verditer in green colours in seventeenthcentury 27 Bonaguida’s technique Netherlandish painting practice Carole Namowicz, Catherine M. Schmidt, Christine Sciacca, Yvonne Szafran, Annelies van Loon, Lidwein Speleers Karen Trentelman, Nancy Turner Alterations in paintings: From noninvasive insitu assessment to 29 Technical similarities between mural painting and panel painting in 7 laboratory research the works of Giovanni da Milano: The Rinuccini -
THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M. -
NEWS RELEASE Press Preview: Tues., May 24 9
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Katie Ziglar Anne Diamonstein (202) 8*?-6353 Press Preview: Tues., May 24 9:00 a.m. - 2:00 p.m. OLD MASTER PAINTINGS FROM MUNICH ON VIEW IN WASHINGTON Washington, D.C., May 4, 1988 - Sixty-two European masterworks from one of the most distinguished public collections in Europe are featured in an exhibition opening at the National Gallery of Art on May ?9, 1988. Masterworks from Munich: Sixteenth- to Eighteenth- Century Paintings from the Alte Pinakothek is the first major showing in this country of works of art from the renowned Bavarian art museum. Masterworks from Munich highlights examples of all the major schools of baroque painting within the wider context of the style's 16th-century antecedents and 18th-century evolution into the rococo. Included in the exhibition are Rubens' The Rape of the Daughters of Leucippus, Rembrandt's Risen Christ, Titian's Vanity, El Greco's The Disrobing of Christ, and Fragonard's Girl with a Dog as well as important works by Guardi, Tintoretto, Brueghel, Van Dyck, Ruisdael, Elsheimer, Murillo, Velazouez, Poussin, and Boucher. masterworks from Munich ... page two "An extraordinary loan has made this exhibition possible," said J. Carter Brown, director of the National Gallery. "The Alte Pinakothek has been extremely generous in offering works by old masters from its collection illustrating its wealth of northern and southern baroque painting. The quality level is superb. The American public is in for a rare treat." The collection was started by members of the ruling Wittelsbach family, Duke Wilhelm IV of Bavaria (ruled 1508-1550) and his wife Jacobaea of Baden, and augmented by subsequent family members, including Maximilian I (ruled 1597-1651), a passionate collector of Durers, and Max Emanuel (ruled 1679-1726). -
The Exploration of Light As a Means of Expression in the Intaglio Print Medium Mary Vasko
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 8-7-1972 The Exploration of Light as a Means of Expression in the Intaglio Print Medium Mary Vasko Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Vasko, Mary, "The Exploration of Light as a Means of Expression in the Intaglio Print Medium" (1972). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE EXPLORATION OF LIGHT AS A MEANS OF EXPRESSION IN THE INTAGLIO PRINT MED I UH by Sister Mary Lucia Vasko, O.S.U. Candidate for the Master of Fine Arts in the College of Fine and Applied Arts of the Rochester Institute of Technology Submitted: August 7, 1372 Chief Advisor: Mr. Lawrence Williams TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . i i i INTRODUCTION v Thesis Proposal V Introduction to Research vi PART I THESIS RESEARCH Chapter 1. HISTORICAL BEGINNINGS AND BACKGROUND OF LIGHT AS AN ARTISTIC ELEMENT THE USE OF CHIAROSCURO BY EARLY ITALIAN AND GERMAN PRINTMAKERS INFLUENCE OF CARAVAGGIO ON DRAMATIC LIGHTING TECHNIQUE 12 REMBRANDT: MASTER OF LIGHT AND SHADOW 15 Light and Shadow in Landscape , 17 Psychological Illumination of Portraiture . , The Inner Light of Spirituality in Rembrandt's Works , 20 Light: Expressed Through Intaglio . Ik GOYA 27 DAUMIER . 35 0R0ZC0 33 PICASSO kl SUMMARY AND CONCLUSION OF RESEARCH hi PART I I THESIS PROJECT Chapter Page 1. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
Exhibition of Prints by Acclaimed Abstr...)
Home Visit Exhibitions Collections Events About Membership Charles Loring Elliott, Portrait of Matthew Vassar, 1861 IN THE NEWS About: Home / In The News / 2017‑2018 In the News Publications Exhibition of prints by acclaimed abstract artist Helen Staff Frankenthaler makes its only northeast stop at the Articles Frances Lehman Loeb Art Center, October 6-December Art Department 10, 2017 Art Library Widely known for her iconic “soak‑stain” canvases, acclaimed artist Helen Frankenthaler Share (1928–2011) was an equally inventive printmaker who took risks in a medium not frequently explored by abstract expressionists. Fluid Expressions: The Prints of Helen Frankenthaler, from the Collections of Jordan D. Schnitzer and His Family Foundation highlights Frankenthaler’s often‑overlooked, yet highly original print production. The exhibition will be making its only northeast stop at Vassar College’s Frances Lehman Loeb Art Center October 6‑December 10, 2017. This exhibition is free and open to the public. Frankenthaler became well known through her large, almost 10‑feet‑wide oil painting, Madame Butterfly, 2000 woodcut Mountains and Sea, made in 1952. In a breakthrough development, she poured thinned Collection of Jordan D. Schnitzer oil paints onto raw, unprimed canvas to suggest the Nova Scotia landscape. With an 2003.201 element of chance, the paints bled into the bare cloth in a dramatic play of watercolor‑ © 2017 Helen Frankenthaler Foundation, Inc. / Artists Rights like washes, instinctual shapes, and receding space. Her pioneering, immediate approach Society (ARS), New York /Tyler widened the practices of abstract expressionists and went on to inspire Color Field Graphics Ltd., Mount Kisco, New York abstract painters such as Morris Louis and Kenneth Noland and generations of future artists. -
Un Cristo Nudo Del 1400 Rivede La Luce a Lauro Scoperto Un Raro Ciclo Di
Un Cristo nudo del 1400 rivede la luce a Lauro Scoperto un raro ciclo di affreschi del XV secolo a Lauro di Nola. Una rarità iconografica che sta meravigliando gli stessi studiosi. Il 2000, anno giubilare, è trascorso in Campania denso di manifestazioni religiose e appuntamenti culturali che hanno riavvicinato il grande pubblico non solo agli aspetti intimi della fede, ma anche alle necessarie “esteriorità”, tra queste la più ghiotta è stata senza dubbio la mostra artistica sul tema della Croce tenutasi presso la sala Carlo V nel Maschio Angioino. La mostra ricca di straordinari reperti, alcuni dei quali, preziosissimi, mai esposti prima, ha fatto seguito ad un dotto convegno sull’argomento organizzato nei mesi precedenti dal professor Boris Iulianich, emerito nell’Università di Napoli e massimo esperto di storia del Cristianesimo, che ha visto la partecipazione di ben 54 relatori provenienti da ogni angolo del globo. Per rimanere nel tema cristologico vogliamo segnalare una sensazionale scoperta avvenuta nella chiesa di Santa Maria della Pietà a Lauro di Nola (fig. 1), ove nell’ambito di un ciclo di affreschi quattrocenteschi, a lungo rimasti sepolti tra le fondamenta di una chiesa più moderna, spicca una scena del Battesimo di Cristo con un’iconografia assolutamente rara: una ostentatio genitalium in piena regola, che lascia esterrefatti, perché la raffigurazione di nostro Signore completamente nudo, in età adulta è poco meno che eccezionale. In Italia possiamo citare soltanto due altri esempi: il Crocifisso ligneo scolpito da Michelangelo nel convento di Santo Spirito in Firenze ed un mosaico nella cupola del Battistero della Cattedrale di Ravenna risalente al V secolo. -
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. -
Honthorst, Gerrit Van Also Known As Honthorst, Gerard Van Gherardo Della Notte Dutch, 1592 - 1656
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Honthorst, Gerrit van Also known as Honthorst, Gerard van Gherardo della Notte Dutch, 1592 - 1656 BIOGRAPHY Gerrit van Honthorst was born in Utrecht in 1592 to a large Catholic family. His father, Herman van Honthorst, was a tapestry designer and a founding member of the Utrecht Guild of St. Luke in 1611. After training with the Utrecht painter Abraham Bloemaert (1566–1651), Honthorst traveled to Rome, where he is first documented in 1616.[1] Honthorst’s trip to Rome had an indelible impact on his painting style. In particular, Honthorst looked to the radical stylistic and thematic innovations of Caravaggio (Roman, 1571 - 1610), adopting the Italian painter’s realism, dramatic chiaroscuro lighting, bold colors, and cropped compositions. Honthorst’s distinctive nocturnal settings and artificial lighting effects attracted commissions from prominent patrons such as Cardinal Scipione Borghese (1577–1633), Cosimo II, the Grand Duke of Tuscany (1590–1621), and the Marcheses Benedetto and Vincenzo Giustiniani (1554–1621 and 1564–1637). He lived for a time in the Palazzo Giustiniani in Rome, where he would have seen paintings by Caravaggio, and works by Annibale Carracci (Bolognese, 1560 - 1609) and Domenichino (1581–-1641), artists whose classicizing tendencies would also inform Honthorst’s style. The contemporary Italian art critic Giulio Mancini noted that Honthorst was able to command high prices for his striking paintings, which decorated -
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Journal of Arts & Humanities Volume 09, Issue 06, 2020: 01-11 Article Received: 26-04-2020 Accepted: 05-06-2020 Available Online: 13-06-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i6.1920 Caravaggio and Tenebrism—Beauty of light and shadow in baroque paintings Andy Xu1 ABSTRACT The following paper examines the reasons behind the use of tenebrism by Caravaggio under the special context of Counter-Reformation and its influence on later artists during the Baroque in Northern Europe. As Protestantism expanded throughout the entire Europe, the Catholic Church was seeking artistic methods to reattract believers. Being the precursor of Counter-Reformation art, Caravaggio incorporated tenebrism in his paintings. Art historians mostly correlate the use of tenebrism with religion, but there have also been scholars proposing how tenebrism reflects a unique naturalism that only belongs to Caravaggio. The paper will thus start with the introduction of tenebrism, discuss the two major uses of this artistic technique and will finally discuss Caravaggio’s legacy until today. Keywords: Caravaggio, Tenebrism, Counter-Reformation, Baroque, Painting, Religion. This is an open access article under Creative Commons Attribution 4.0 License. 1. Introduction Most scholars agree that the Baroque range approximately from 1600 to 1750. There are mainly four aspects that led to the Baroque: scientific experimentation, free-market economies in Northern Europe, new philosophical and political ideas, and the division in the Catholic Church due to criticism of its corruption. Despite the fact that Galileo's discovery in astronomy, the Tulip bulb craze in Amsterdam, the diplomatic artworks by Peter Paul Rubens, the music by Johann Sebastian Bach, the Mercantilist economic theories of Colbert, the Absolutism in France are all fascinating, this paper will focus on the sophisticated and dramatic production of Catholic art during the Counter-Reformation ("Baroque Art and Architecture," n.d.). -
Presents the Chiaroscuro Woodcut in Renaissance Italy, the First Major Exhibition on the Subject in the United States
(Image captions on page 8) (Los Angeles—April 26, 2018) The Los Angeles County Museum of Art (LACMA) presents The Chiaroscuro Woodcut in Renaissance Italy, the first major exhibition on the subject in the United States. Organized by LACMA in association with the National Gallery of Art, Washington, this groundbreaking show brings together some 100 rare and seldom-exhibited chiaroscuro woodcuts alongside related drawings, engravings, and sculpture, selected from 19 museum collections. With its accompanying scholarly catalogue, the exhibition explores the creative and technical history of this innovative, early color printmaking technique, offering the most comprehensive study on the remarkable art of the chiaroscuro woodcut. “LACMA has demonstrated a continued commitment to promoting and honoring the art of the print,” said LACMA CEO and Wallis Annenberg Director Michael Govan. “Los Angeles is renowned as a city that fosters technically innovative printmaking and dynamic collaborations between artists, printmakers, and master printers. This exhibition celebrates this spirit of invention and collaboration that the Renaissance chiaroscuro woodcut embodies, and aims to cast new light on and bring new appreciation to the remarkable achievements of their makers.” “Although highly prized by artists, collectors, and scholars since the Renaissance, the Italian chiaroscuro woodcut has remained one of the least understood techniques of early printmaking,” said Naoko Takahatake, curator of Prints and Drawings at LACMA and organizer of the exhibition. -
Chapter 25 Baroque
CHAPTER 25 BAROQUE Flanders, Dutch Republic, France,,g & England Flanders After Marti n Luth er’ s Re forma tion the region of Flanders was divided. The Northern half became the Dutch Republic, present day Holland The southern half became Flanders, Belgium The Dutch Republic became Protestant and Flanders became Catholic The Dutch painted genre scenes and Flanders artists painted religious and mythol ogi ca l scenes Europe in the 17th Century 30 Years War (1618 – 1648) began as Catholics fighting Protestants, but shifted to secular, dynastic, and nationalistic concerns. Idea of united Christian Empire was abandoned for secu lar nation-states. Philip II’s (r. 1556 – 1598) repressive measures against Protestants led northern provinces to break from Spain and set up Dutch Republic. Southern Provinces remained under Spanish control and retained Catholicism as offiilfficial re liiligion. PlitildititiPolitical distinction btbetween HlldHolland an dBlid Belgium re fltthiflect this or iiigina l separation – religious and artistic differences. 25-2: Peter Paul Rubens, Elevation of the Cross, 1610-1611, oil on Cue Card canvas, 15 X 11. each wing 15 X 5 • Most sought a fter arti st of hi s time - Ambassador, diplomat, and court painter. •Paintinggy style •Sculptural qualities in figures •Dramatic chiaroscuro •Color and texture like the Venetians • Theatrical presentation like the Italian Baroque •Dynamic energy and unleashed passion of the Baroque •Triptych acts as one continuous space across the three panels. •Rubens studied Renaissance and Baroque works; made charcoal drawings of Michelangelo’s Sistine Chapel and the Laocoon and his 2 sons. •Shortly after returning home , commissioned by Saint Walburga in Antwerp to paint altarpiece – Flemish churches affirmed their allegiance to Catholicism and Spanish Hapsburg role after Protestant iconoclasm in region.