Corpus Rubenianum Ludwig Burchard
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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. -
Index I : Collections
INDEX I : COLLECTIONS This index lilts all the extant paintings, oil sketches and drawings catalogued in both volumes of Part vm . Copies have also been included. The works are lilted alphabetically according to place. AIX-EN-PROVENCE, ST. MAGDALEN’S Head Study of St. Catherine of Alex CHURCH andria, Cat. 88b, I, 137, 138, fig. T. Boeyermans, painting: 153 The Martyrdom of St. Paul, Cat. 138, ANTWERP, G, FAES II, 134 -137 , fig. 92 Anonymous, painting after Rubens: ALOST, ST. MARTIN’S CHURCH Angels Transporting the Dead Body Rubens, paintings: of St. Catherine of Alexandria, Cat. The Holy Virgin Holding the Infant 79. h I2 3> fig- 13 8 Christ, Cat. 143, 11, 146, 147, fig. ANTWERP, KONINKLIJK MUSEUM 106 VOOR SCHONE KUNSTEN St. Roch Interceding for the Plague Rubens, paintings: Stricken, Cat. 140, I, 22, 1 12 ; il, The Lalt Communion of St. Francis of I4 2-I4 7; fig. 102 Assisi, Cat. 102, I, 156 -16 2, fig. Studio of Rubens, paintings: 178; II, 180 St. Roch Fed by a Dog, Cat. 14 1, 11, St. Teresa of Avila Interceding for Ï44-X47, fig. 104 Bernardino de Mendoza, Cat. 155, The Death of St. Roch, Cat. 142, 11, i, 92; i i , 166-168, fig. 125 144-147, fig. 105 Anonymous, painting after Rubens: ALOST, A. CHRISTIAENS St. Thomas Aquinas, Cat. 15 7 ,11, 170, Anonymous, painting after Rubens: fig. 129 St. Magdalen Repentant, Cat. 130, II, ANTWERP, PRESBYTERY OF ST. ANDREW’S 119 CHURCH ALOST, F. VAN ESSCHE Anonymous, painting after Rubens: Anonymous, painting after Rubens: St. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates. -
Saint Sebastian
Saint Sebastian This article is about the Christian saint and martyr. For the United States Navy ship, see USS St. Sebastian (SP-470). “Saint Sebastien” redirects here. For other uses, see Saint-Sébastien (disambiguation). Saint Sebastian (died c. 288) was an early Christian saint and martyr. He was killed during the Roman em- peror Diocletian's persecution of Christians. He is com- monly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most com- mon artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly af- terwards he criticized Diocletian in person and as a result was clubbed to death.[1] He is venerated in the Catholic and Orthodox Churches. The details of Saint Sebastian’s martyrdom were first spoken of by 4th-century bishop Ambrose of Milan (Saint Ambrose), in his sermon (number 22) on Psalm 118. Ambrose stated that Sebastian came from Milan and that he was already venerated there at that time. Saint Sebastian is a popular male saint, especially among soldiers.[2][3] 1 Life Saint Sebastian Interceding for the Plague Stricken,[4] Josse Lieferinxe, 1497–1499, The Walters Art Museum According to Sebastian’s 18th century entry in Acta Sanc- torum,[5] still attributed to Ambrose by the 17th century hagiographer Jean Bolland, and the briefer account in the then brought the rest of the prisoners; these 16 persons 14th century Legenda Aurea, he was a man of Gallia Nar- were also converted by Sebastian.[6] bonensis who was taught in Milan and appointed a captain Chromatius and Tiburtius converted; Chromatius set all of the Praetorian Guard under Diocletian and Maximian, of his prisoners free from jail, resigned his position, and who were unaware that he was a Christian. -
Index I: Collections
INDEX I: COLLECTIONS This index lifts the extant tapeftries, oil sketches and cartoons made by Rubens, his assistants and tapeftry weavers for the Eucharift series. Later tapeftries, copies after the oil sketches and cartoons are also included. The works are lifted alphabetically according to place. AMHERST, AMHERST COLLEGE CAMBRIDGE, FITZWILLIAM MUSEUM Rubens, modello: Rubens, bozzetti: Charity Enlightening the World, Cat. Abraham and Melchizedek, Cat. 7a, 20b, 43, 89, 118, 399-401, fig. 217 89-93, 98. 99. 285, 286, 449, fig. AMSTERDAM, RIJKSPRENTENKABINET 120 Anonymous, drawing after Rubens: The Triumph of the Church, Cat. n a, Two Lions Led by a Putto, Cat. 13d, 85. 90-93. 99~IOI> 321, 326, 327, 231, 352 fig-150 BAYONNE, MUSÉE BONNAT The Triumph of Faith, Cat. 12a, 85, Rubens, bozzetti: 90-93, 99-101, 335, 336, 338, fig. The Gathering of the Manna, Cat. 8a, 161 89-94. 99. 296, 297, 304, 449, The Triumph of Divine Love, Cat. fig. 133 13a, 85, 89-94, 99-101, 347, 348, Elijah and the Angel, Cat. 9a, 89-94, fig-172 99. 297. 303. 304, 449. fig- ! 38 The Four Evangelifts, Cat. 14a, 85, Rubens, modello: 90-93, 99-101, 357, fig. 184 Elijah and the Angel, Cat. 9b, 96, The Defenders of the Eucharift, Cat. 114, 129-131, 304-306, fig. 139 15a, 85, 90-94, 100, 101, 365, 366, BERLIN, SCHLOSS CHARLOTTENBURG fig-191 Anonymous, paintings after Rubens: The Vidtory of Truth over Heresy, The Eucharift Overcoming Pagan Sac Cat. 17a, 85, 90-94, 99-101, 380, rifices, Cat. 16b, 375 381, fig. -
Mines of Misinformation: George Eliot and Old Master Paintings: Berlin, Munich, Vienna and Dresden, 1854-5 and 1858 Leonee Ormond
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2002 Mines of Misinformation: George Eliot and Old Master Paintings: Berlin, Munich, Vienna and Dresden, 1854-5 and 1858 Leonee Ormond Follow this and additional works at: http://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Ormond, Leonee, "Mines of Misinformation: George Eliot and Old Master Paintings: Berlin, Munich, Vienna and Dresden, 1854-5 and 1858" (2002). The George Eliot Review. 438. http://digitalcommons.unl.edu/ger/438 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MINES OF MISINFORMATION: GEORGE ELIOT AND OLD MA~TER PAINTINGS: BERLIN, MUNICH, VIENNA AND DRESDEN, 1854-5 AND 1858. By Leonee Onnond This article is a 'footnote' to two classic works on George Eliot: Hugh Witemeyer's George Eliot and the Visual Arts and The Journals of George Eliot, edited by Margaret Harris and Judith Johnston. When I began to follow the progress of George Eliot and George Henry Lewes round the major art galleries of Western Europe, I soon discovered that many of the paintings which George Eliot mentions in her journal were not what she believed them to be. Some have been reattributed since her lifetime, and others, while still bearing the name of the artist she gave them, were not of the subjects she supposed. -
Education 608 Spring 2001
Art History I ART 305-01 CRN Mon/Wed 3-4:15 P.M. Armstrong Slater 205A Anne Pierce, Ph.D., Associate Professor Office Hours: MWF 12-2pm in Armstrong 320, Tuesday 1-4pm in Armstrong Slater 203H or by Appointment: [email protected] Textbook - Adams, Laurie. Art Across Time. Boston: McGraw-Hill, 2007. 3rd ed. Compiled Bibliography – Before each class meeting, each student will upload to our Blackboard site a recent article (last 5 years) from A PROFESSIONAL RESOURCE (journal, website, etc.) which can be used to stimulate discussion on the topic under consideration with appropriate attribution (Chicago - also called Turabian style). Course Description – The purpose of the course is to introduce students to the links between art and history; and art as history. Through collaborative projects, short papers, visits to museums and reading assignments, students will begin to explore primarily Western art (prehistory – 16th century). Students will sharpen their observation skills and develop as critics. Analysis of art objects will emphasize a visual vocabulary including technique, style or period, content, as well as artist’s influences. Course Objectives – Successful completion of this course requires students to: 1) Demonstrate instructional technology in classroom presentations. 2) Identify works of art and artifacts from specific artists and periods from Prehistory to the Renaissance. 3) Increase their awareness of the achievements and contributions of culture and historical events to the production of the artists’ work. 4) Analyze the use of art elements, composition and techniques to make qualitative assessments. 5) Compare characteristic techniques, styles or periods, purposes and iconography. Course Competencies 1) Compare text and subtext of art, artists, and society. -
Diploma Lecture Series 2012 Absolutism to Enlightenment: European Art and Culture 1665-1765
Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Art in Rome after 1650 Christopher Allen 8 / 9 February 2012 Lecture summary: We are much more familiar with art in Rome in the first half of the seventeenth century than in the second: everyone knows the work of Caravaggio, Annibale Carracci and Bernini, and to a lesser extent that of Guido Reni, Domenichino and Pietro da Cortona. The two great French artists who dominate the field of painting in Rome around the mid-century, Nicolas Poussin and Claude Lorrain, have never ceased to be celebrated. But the painters of the later decades remain shadowy figures – whether the academic Carlo Maratta or the Baroque decorators Baciccio and Andrea Pozzo. This obscurity reflects among other things the rise of France, enjoying a golden age of literature, art and philosophy under the reign of Louis XIV and imposing itself as the new cultural centre of Europe. The result, in Rome itself, is a polarization between artists who emulate the French model to a certain extent, and those who pursue an unbridled form of Baroque in the service of religious expression. After the death of Louis XIV and with the decline of French power, Rome would regain its position as pre-eminent capital of European art in the mid-eighteenth century, although increasingly as a centre of postgraduate study rather than of contemporary practice. Slide list: 1. Andrea Sacchi, La Divina Sapienza, 1629-33, Ceiling fresco; Rome, Palazzo Barberini. 2. Pietro da Cortona, The Triumph of Divine Providence, 1633-39, Fresco; Rome, Palazzo Barberini 3. -
The Wonders of Engraving
) THE WONDERS OF ENGEAVING. BY GEORGES DUPLESSIS. ILLUSTRATED WITFI TIIIKTY-FOUB WOOD-ENGBAVING8. NEW YOKE: CHARLES SCRIBN^ER & CO, 1871. illustrated library of Wonders. PUBLISHED BT , (parks 654 BROADWAY, NEW YOEK. Bach one volume 12mo. Price per volume, 11.50. Titles of Books. No. of Illustrations THUNDER AND LIOHTNINO, .... 39 WONDERS OP OPTICS, . 70 WONDERS OF HEAT, ..... 90 INTELLIGENCE OP ANIMALS, . 54 GBEAT HUNTS, ...... 22 EGTPT 3,300 YKARS AGO, . 40 WONDERS OP POMPEII, .... 28 THE SUN, BT A. GUILLEMIN, . 63 SUBLIME IN NATURE, ..... SO WONDERS OP GLASS-MAKING, . 63 WONDERS OP ITALIAN ART, .... 28 WONDERS OP THE HUMAN BODY, 46 WONDERS OP ARCHITECTURE, LIGHTHOUSES AND LIGHTSHIPS, 60 BOTTOM OP THE OCEAN, 68 WONDERS OP BODILY STRENGTH AND HKILL, 70 WONDERFUL BALLOON ASCENTS, 30 ACOUSTICS. ..... 114 WONDERS OP THE HEAVENS, . 48 THE MOON, BY A. GUILLKMIN, 60 WONDERS OP SCULPTURE .... 61 WONDERS OP ENGRAVING, 32 WONDERS OP VEGETATION, .... 45 WONDERS OP THE INVISIBLE WORLD, 97 CELEBRATED ESCAPES, .... 26 WATER, ...... 77 HYDRAULICS, .... 40 ELECTRICITY, ..... 71 SUBTERRANEAN WORLD, .... 27 * In Press for early Publication. The above works sent to any address, post-paid, upon receipt of the price 6j> the publishers. CONTENTS. CHAPTER L PAGB THE ORIGIN OF ENGRAVING 9 CHAPTER H. ENGRAVING IN ITALY. Engravers on Wood Nielli Copperplate Engraving at Florence, in the Northern Cities, at Milan, Parma, Bologna, and Rome 13 CHAPTER HI. ENGRAVING IN SPAIN. Giuseppe Ribera and Francesco Goya 83 CHAPTER IV. ENGRAVING IN THE Low COUNTRIES. Engravers on Wood in the loth Century Early Engravers on Metal Holland : Rem- brandt, Ruysdael, and Paul Potter Belgium : Rubens, Bols- wert, Paul Pontius, and Anthony Vandyck 88 CHAPTER V. -
Peter Paul Rubens – Cultural Entrepreneur Avant La Lettre
Erasmus University Rotterdam Faculty of History and Arts Peter Paul Rubens – Cultural Entrepreneur avant la lettre A case study in the economic history of the arts Thesis for the M.A. degree in Art & Cultural Studies Cultural Economics & Cultural Entrepreneurship Fu Lo 314699 [email protected] July 2009 Supervisor: Dr. Filip R. R. Vermeylen Second Reader: Dr. Karolien de Clippel Abstract This thesis is an interdisciplinary research that connects (cultural) economics with history of art through a case study of the great Baroque master Peter Paul Rubens (1577-1640). Rubens has always been a significant icon in history; probably because of his versatile roles during his life. Besides being a genuine artist he was a humanistic scholar and a pacifying diplomat. And as the title of this thesis suggests, Rubens‘s extraordinary awareness and ability towards the business of art is the main focus in this thesis, as he epitomizes the notion of a ‗cultural entrepreneur‘ in the seventeenth century. Using economic theories we can identify Rubens‘s entrepreneurial mind and activities through the way of producing, organizing, transmitting and distributing art. Historical evidence shows that Rubens was indeed very familiar with certain economic concepts, such as division of labor, quality control, market segregation and even customer relationship management. The structure of this thesis can thus be divided into three parts: a literature review on the economic history of the arts, background introduction of Rubens and his time, and finally an economic interpretation of his artistic activities. The main findings of the thesis will be demonstrated in three parts, being the supply, the demand, and the price level of Rubens‘s art, respectively. -
ART 486 Baroque Art Fall 2016
ART 486 Baroque Art fall 2016 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR after class until noon , TR 4:00 – 5:00 other times by appt. Class meets TR 9:30 – 10:45 in the Art History Room 106 in the Art Annex Building. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 281, 282 or the equivalent in history. Program Learning Outcomes (for art history majors . the art history program) 1. Foundation Skills Undergraduate students will identify major and characteristic works of art and architecture in the western tradition, including the art of minorities and women, to demonstrate competence in the basic historical and chronological framework of art history. Category: Embedded exam. quiz questions 2. Interpretative Skills Undergraduate students will employ various interpretive methodologies to analyze works of art. Category: Embedded exam questions (essay in exam) 3. Research Skills Undergraduate students will conduct art historical research involving logical and insightful analysis of secondary literature. Category: Embedded course assignment (research paper) Text: Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for example, on Aug. 16 there were 4 used copies of the 2nd ed in good condition for less than $5 and one for $8.33 on bookfinder.com. I don’t require you to buy the book; however, you may want your own copy for general reading and at take-home exam time.