THE PAINTINGS 4 Byzantine, XVII Cent
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My Mannerism: Inspiration with El Greco
Fitzgerald 1 My Mannerism: Inspiration with El Greco XXXXXXXXXXXX ART 307A March 20, 2013 Art History Lesson Plan My Mannerism Fitzgerald 1 Art History Plan Lesson History Art 3 IA. Curriculum Frameworks: Which MA Curriculum Frameworks connect to your goals? 3 IB. Generative Topic: What is the focal concept or skill of the lesson? 3 IC. Measurable Objectives: What do you want students to know and be able to do? 3 ID. End of lesson Assessment: How are you going to assess ART student’s understanding? 2 IIA. Content and Skills: What do you know about what you PLAN LESSON are planning to teach? 3 IIB. Rationale: Why teach the lesson? 3 My Mannerism My III. Knowledge of Students: Why does knowing your students matter? 3 IV. Materials: What materials, resources, and technology will #2 you need? RUBRIC RATINGS RUBRIC 3 VA. Beginning of the Lesson: How will you immediately engage all of your students in the content? VB. Middle of Lesson: What are your students actively 3 DOING (e.g., speaking, writing, drawing, performing, documenting, observing) to explore the content? VC. Extension and Enrichment Activities During Class Time: 3 How will you actively extend the learning of students who finish tasks early? 3 VD. End of Lesson: How will you help all students actively Fitzgerald Fitzgerald process the experience? 3 VIA. Reflection: Looking at Student Performance Fitzgerald Fitzgerald 3 VIB. Reflection: Looking at teaching 2 2 Fitzgerald 3 My Mannerism: Inspiration with El Greco Grade Level: 4th Number of Classes: 3 Each 45 Minutes in Length Lesson Content Rationale: This lesson is to teach students about the artist El Greco and characteristics of the style of Mannerism. -
Sztuki Piękne)
Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historycznodokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им. -
El Greco, a Mediator of Modern Painting
El Greco, a mediator of modern painting Estelle Alma Maré Tshwane University of Technology, Pretoria E-mail: [email protected] Without clear articulation of their insights, except in painted copies of and citations from his works, various modern artist seem to have recognised that formally El Greco’s late paintings are mental con- structs, representing only a schematic version of reality. El Greco changed the communicative function of painting from commenting on reality to constituting a reality. It is proposed that modern artists in a quest for a new approach to painting found El Greco’s unprecedented manner of figural expression, extreme degree of anti-naturalism and compositional abstraction a source of inspiration. For various painters that may have been a starting point in finding a new paradigm for art that was at a loose end after the influence of disciples of the French Academy terminated. Key words: El Greco, copying and emulation, Diego Vélazquez, Francis Bacon, Gustave Courbet, Éduard Manet, Edgar Degas, Paul Cézanne, J.F. Willumsen, Oscar Kokoschka, Pablo Picasso, Jackson Pollock El Greco, ’n medieerder van moderne skilderkuns Sonder dat hulle hul insigte duidelik geartikuleer het, behalwe in geskilderde kopieë van en aanhalings uit sy werke, het verskeie moderne kunstenaars blykbaar tot die insig geraak dat El Greco se latere skilderye denkkonstrukte is wat ’n geskematiseerde weergawe van die werklikheid verteenwoordig. Daar word betoog dat moderne kunstenaars op soek na ’n nuwe benadering tot die skilderkuns in El Greco se buitengewone wyse van figuurvoorstelling, anti-naturalisme en komposisionele abstraksie ’n bron van inspirasie gevind het. Vir verskeie kunstenaars was dit waarskynlik ’n aanknopingspunt vir die verwesenliking van ‘n nuwe paradigma vir kuns wat koers verloor het nadat die invloed van die dissipels van die Franse Akademie geëindig het. -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester
Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . Chapter 4: Frans Hals . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 30-47 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: ND636.R6 1966 . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16583[8/18/2016 12:48:14 PM] f t FRANS HALS: EARLY WORKS 1610-1620 '1;i no. l6II, destroyed in the Second World War; Plate 76n) is now generally accepted 1 as one of Hals' earliest known works. 1 Ifit was really painted by Hals - and it is difficult CHAPTER 4 to name another Dutch artist who used sucli juicy paint and fluent brushwork around li this time - it suggests that at the beginning of his career Hals painted pictures related FRANS HALS i to Van Mander's genre scenes (The Kennis, 1600, Leningrad, Hermitage; Plate 4n) ~ and late religious paintings (Dance round the Golden Calf, 1602, Haarlem, Frans Hals ·1 Early Works: 1610-1620 Museum), as well as pictures of the Prodigal Son by David Vinckboons. -
To Emile Bernard. Arles, Monday, 30 July 1888
To Emile Bernard. Arles, Monday, 30 July 1888. Monday, 30 July 1888 Metadata Source status: Original manuscript Location: New York, Thaw Collection, The Morgan Library & Museum Date: Assuming that Van Gogh honoured his promise to write again soon, the present letter dates from shortly after the previous one to Bernard (letter 649, of 29 July). The opening words accordingly appear to be an immediate continuation of their discussion about painting, while the drawings that Bernard had sent are examined at the end. Van Goghs new model, Joseph Roulin, who posed for him on 31 July, is not mentioned, despite the fact that the importance of painting portraits is stressed in this letter. On the assumption that he would have told Bernard about Roulins portrait if he had already painted it, as he did Theo and Willemien in letters 652 and 653, both of 31 July, we have dated this letter Monday, 30 July 1888. Additional: Original [1r:1] Mon cher copain Bernard. Tu admettras, jen doute aucunement, que ni toi ni moi ne puissions avoir de Velasquez et de Goya une ide complte de ce quils etaient comme homme et comme peintres, car ni toi ni moi navons vu lEspagne, leur pays et tant de belles choses qui sont restes dans le midi. Nempche que ce que lon en connait cest dj quelque chse. 1 Va sans dire que pour les gens du nord, Rembrandt en tte, il est excessivement dsirable de connatre, en jugeant ces peintres, et leur oeuvre dans toute son tendue, et leur pays et lhistoire un peu intime et serre de lpoque et des moeurs de lantique pays. -
Donatello's Terracotta Louvre Madonna
Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it. -
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ of IΞJL GRIΞCO and ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ Of IΞJL GRIΞCO AND ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175 by Nicos Hadjinicolaou In memoryof Stella Panagopoulos, whose presence at the lecture gave me great pleasure The organization of a series of lectures in honour of a distinguished l art critic could bring the invited art historians in the delicate or uncomfortable position of defining the limits proper to art criticism and art history, thus reviving a rather sterile paragon of the 20th century. If, in the debate about the primacy of sculpture or of painting, Vasari (out of conviction it seems and not for reasons of tactics) declared that the controversy was futile because both arts were equally based οη "d isegno", Ι am afraid that tod ay a similar proposition to remove the object of dissent between art criticism and art history by claiming tha.t both were equally based οη "artistic theory" would, unfortunately, be rejected as being tόta11y out of place. Reconciliation being, at least for the moment, impossible, an art historian might be allowed to stress what in his eyes is one of the advantages of art criticism over art history: that it takes a stand, that it takes risks, that it measures the relevance of a work for the present and for the immediate future. It goes without saying that an art critic also jud ges a contemporary work under the burden of his or her knowledge of the art of the past and of the literature written ab out it. Υ et, this does not change the fundamental fact that the appreciation of the work and the value judgements about its assumed "quality" or "validity as a statement" are elements insid e a perspective looking towards the future and not towards the past. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Saint Sebastian
SAINT SEBASTIAN In his semi-autobiographical novel Confessions of a Mask, the Japanese writer Yukio Mishima described his sexual awakening as a young boy when he came upon a reproduction of the martyrdom of Saint Sebastian, a painting by the late Renaissance artist Guido Reni. The event is transferred to the fictional narrator, but recalled the actual event that had proved so formative for Mishima. A remarkably handsome youth was bound naked to the trunk of a tree. His crossed hands were raised high, and the thongs binding his wrists were tied to the tree. No other bonds were visible, and the only covering for the youth's nakedness was a coarse white cloth knotted loosely about his loins... Were it not for the arrows with their shafts deeply sunk into his left armpit and right side, he would seem more a Roman athlete resting from fatigue... The arrows have eaten into the tense, fragrant, youthful flesh, and are about to consume his body from within with flames of supreme agony and ecstasy.' The boy's hands embarked on a motion of which he had no experience; he played with his 'toy': "Suddenly it burst forth, bringing with it a blinding intoxication... Some time passed, and then, with miserable feelings I looked around the desk I was facing... There were cloud-splashes about... Some objects were dripping lazily, leadenly, and others gleamed dully, like the eyes of a dead fish. Fortunately, a reflex motion of my hand to protect the picture had saved the book from being soiled. The martyrdom of Saint Sebastian would prove to be a pivotal theme in Mishima’s life and art to which he would return time and time again. -
Hans Memling's Scenes from the Advent and Triumph of Christ And
Volume 5, Issue 1 (Winter 2013) Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation Sally Whitman Coleman Recommended Citation: Sally Whitman Coleman, “Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation,” JHNA 5:1 (Winter 2013), DOI: 10.5092/jhna.2013.5.1.1 Available at https://jhna.org/articles/hans-memlings-scenes-from-the-advent-and-triumph-of- christ-discourse-of-revelation/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 5:1 (Winter 2013) 1 HANS MEMLING’S SCENES FROM THE ADVENT AND TRIUMPH OF CHRIST AND THE DISCOURSE OF REVELATION Sally Whitman Coleman Hans Memling’s Scenes from the Advent and Triumph of Christ (ca. 1480, Alte Pinakothek, Munich) has one of the most complex narrative structures found in painting from the fifteenth century. It is also one of the earliest panoramic landscape paintings in existence. This Simultanbild has perplexed art historians for many years. The key to understanding Memling’s narrative structure is a consideration of the audience that experienced the painting four different times over the course of a year while participating in the major Church festivals. -
Press Release
FRICK TO PRESENT FIRST MAJOR NORTH AMERICAN EXHIBITION ON RENAISSANCE PAINTER GIOVANNI BATTISTA MORONI MORONI: THE RICHES OF RENAISSANCE PORTRAITURE February 21 through June 2, 2019 In Renaissance Italy, one of the aims of portraiture was to make the absent seem present through naturalistic representation of the sitter. This notion—that art can capture an individual exactly as he or she appears—is exemplified in the work of Giovanni Battista Moroni. The artist spent his entire career in and around his native Bergamo, a region in Lombardy northeast of Milan, and left a corpus of portraits that far outnumbers those of his contemporaries who worked in major artistic centers, including Titian in Venice and Bronzino in Florence. Though Moroni never achieved their fame, he innovated the genre of portraiture in spectacular ways. This winter and spring, Giovanni Battista Moroni (b. 1520–24; d. 1579/80), Portrait of a Young Woman, ca. 1575, oil on canvas, private collection; photo: the Frick presents the first major exhibition in North Michael Bodycomb America devoted to his work, bringing together nearly two dozen of Moroni’s most arresting and best known portraits from international collections to explore the innovations and experiments that belie his masterful illusion of recording reality. They will be shown alongside a selection of complementary objects— Renaissance jewelry, textiles, arms and armor, and other luxury items—that exemplify the material and visual world that Moroni recorded, embellished, and transformed. Moroni: Moroni, Giovanni Gerolamo Grumelli, called The Man in Pink, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia The Riches of Renaissance Portraiture was organized by Aimee Ng, Associate Curator, Moroni Collection; photo: Mauro Magliani 1 The Frick Collection; Simone Facchinetti, Researcher, Università del Salento, Lecce; and Arturo Galansino, Director General, Palazzo Strozzi, Florence.