John Walker, Director of the National Gallery Of
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Sara Fox [email protected] Tel +1 212 636 2680
For Immediate Release May 18, 2012 Contact: Sara Fox [email protected] tel +1 212 636 2680 A MASTERPIECE BY ROMANINO, A REDISCOVERED RUBENS, AND A PAIR OF HUBERT ROBERT PAINTINGS LEAD CHRISTIE’S OLD MASTER PAINTINGS SALE, JUNE 6 Sale Includes Several Stunning Works From Museum Collections, Sold To Benefit Acquisitions Funds GIROLAMO ROMANINO (Brescia 1484/87-1560) Christ Carrying the Cross Estimate: $2,500,000-3,500,000 New York — Christie’s is pleased to announce its summer sale in New York of Old Master Paintings on June 6, 2012, at 5 pm, which primarily consists of works from private collections and institutions that are fresh to the market. The star lot is the 16th-century masterpiece of the Italian High Renaissance, Christ Carrying the Cross (estimate: $2,500,000-3,500,000) by Girolamo Romanino; see separate press release. With nearly 100 works by great French, Italian, Flemish, Dutch and British masters of the 15th through the 19th centuries, the sale includes works by Sir Peter Paul Rubens, Hubert Robert, Jan Breughel I, and his brother Pieter Brueghel II, among others. The auction is expected to achieve in excess of $10 million. 1 The sale is highlighted by several important paintings long hidden away in private collections, such as an oil-on-panel sketch for The Adoration of the Magi (pictured right; estimate: $500,000 - $1,000,000), by Sir Peter Paul Rubens (Siegen, Westphalia 1577- 1640 Antwerp). This unpublished panel comes fresh to market from a private Virginia collection, where it had been in one family for three generations. -
Of Painting and Seventeenth-Century
Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special -
Les Couleurs Du Ciel Livret D'accompagnement Pédagogique
Musée Carnavalet – Histoire de Paris. Dossier pédagogique / Septembre 2012 Exposition Les couleurs du Ciel. Peintures des églises de Paris au XVII e siècle (Oct.2012 – Fév. 2013) LES COULEURS DU CIEL Peintures des églises de Paris au XVII e siècle Philippe de Champaigne (1602-1674) Le sommeil d’Élie , Musée des Beaux Arts du Mans © Cliché Musées du Mans ; Conservation : Le Mans, Musée de Tessé LIVRET D’ACCOMPAGNEMENT PÉDAGOGIQUE 1 Musée Carnavalet – Histoire de Paris. Dossier pédagogique / Septembre 2012 Exposition Les couleurs du Ciel. Peintures des églises de Paris au XVII e siècle (Oct.2012 – Fév. 2013) Sommaire Présentation de l’exposition p. 3 Plan de l’exposition p. 4 Sections de l’exposition p. 5 L’exposition et les programmes scolaires p. 9 Dossiers thématiques et documents à télécharger à part • Paris, une ville dans la Contre-Réforme Un contexte historique agité Dossier La Réforme catholique au XVII e siècle L’art de la Contre-Réforme dans les églises parisiennes Dossier Les peintres des églises parisiennes, une évolution de la peinture française au XVII e siècle. Dossier Un tableau de Philippe de Champaigne, Dieu le Père créant l’univers matériel , vers 1633. Dossier Un tableau des Frères Le Nain, La Naissance de la Vierge , vers 1640. Dossier Un tableau de Louis Licherie, Les Neufs chœurs des anges , 1679. Dossier Un tableau de Philippe de Champaigne, Le sommeil d’Elie , 1650-1655. Dossier Un tableau de Laurent de La Hyre, Saint Pierre guérissant par son ombre les malades , 1635. (Attention, tableau in situ) Dossier Un tableau anonyme, Le jugement dernier , 1605, Saint-Etienne-du-Mont. -
Maurice-Quentin De La Tour
Neil Jeffares, Maurice-Quentin de La Tour Saint-Quentin 5.IX.1704–16/17.II.1788 This Essay is central to the La Tour fascicles in the online Dictionary which IV. CRITICAL FORTUNE 38 are indexed and introduced here. The work catalogue is divided into the IV.1 The vogue for pastel 38 following sections: IV.2 Responses to La Tour at the salons 38 • Part I: Autoportraits IV.3 Contemporary reputation 39 • Part II: Named sitters A–D IV.4 Posthumous reputation 39 • Part III: Named sitters E–L IV.5 Prices since 1800 42 • General references etc. 43 Part IV: Named sitters M–Q • Part V: Named sitters R–Z AURICE-QUENTIN DE LA TOUR was the most • Part VI: Unidentified sitters important pastellist of the eighteenth century. Follow the hyperlinks for other parts of this work available online: M Matisse bracketed him with Rembrandt among • Chronological table of documents relating to La Tour portraitists.1 “Célèbre par son talent & par son esprit”2 – • Contemporary biographies of La Tour known as an eccentric and wit as well as a genius, La Tour • Tropes in La Tour biographies had a keen sense of the importance of the great artist in • Besnard & Wildenstein concordance society which would shock no one today. But in terms of • Genealogy sheer technical bravura, it is difficult to envisage anything to match the enormous pastels of the président de Rieux J.46.2722 Contents of this essay or of Mme de Pompadour J.46.2541.3 The former, exhibited in the Salon of 1741, stunned the critics with its achievement: 3 I. -
Montalbetti Le Sueur Raphael De La France-24-03-2011
Les publications du GHAMU Valérie Montalbetti Valérie Montalbetti Le Sueur « Raphaël de la France » L’ambigüité de la référence italienne dans l’invention d’un maître de l’art français 1 Fig. 1. Jean-Jacques Lagrenée (1739-1821), Allégorie relative à l’établissement du Museum , 1783, papier marouflé sur toile, H. 52 ; L. 68 cm, signé, signé et daté en bas à gauche, Paris, Musée du Louvre (RF 1998-6) – Droits d’image : © Musée du Louvre/A. Dequier - M. Bard. Résumé Eustache Le Sueur (1616-1655), représentant éminent de l’atticisme parisien au milieu du XVII e siècle avec Laurent de la Hyre, doit sa reconnaissance actuelle à Alain Mérot et à un marché de l’art qui continue de s’arracher ses tableaux. Quant à la réputation qu’il eut au XVIII e siècle, elle est principalement due à l’analogie entre lui et Raphaël que la littérature critique mit en scène à partir des années 1680, en le présentant comme le « Raphaël de la France ». Mort à trente-huit ans quand l’illustre Italien auquel on le comparait était décédé dans sa trente-septième année, Le Sueur avait montré, dans quelques chefs-d’œuvre comme le cycle de La Vie de Saint Bruno dont le comte d’Angiviller fit de véritables trésors nationaux, une maîtrise de toutes les parties de la peinture gouvernée par la clarté et la simplicité. Toutefois, au-delà du caractère tout rhétorique de la comparaison, l’entreprise d’assimilation des deux peintres relève avant tout d’un habile montage idéologique, dont l’enjeu est bien l’existence de cette école française qui, au XVIII e siècle, gage les prétentions nationales à incarner la Nouvelle Rome, tant artistiquement que politiquement. -
Full Press Release
Press Contacts Michelle Perlin 212.590.0311, [email protected] f Patrick Milliman 212.590.0310, [email protected] MASTER DRAWINGS FROM SEVENTEENTH-CENTURY FRANCE FEATURED IN NEW EXHIBITION AT THE MORGAN Poussin, Claude, and French Drawing in the Classical Age June 16 through October 15, 2017 New York, NY, May, 22, 2017 — The French refer to the seventeenth century as the Grand Siècle, or the Great Century. Under the rule of Louis XIII and Louis XIV, the period saw a dramatic increase in French political and military power, the maturation of French courtly life at Versailles, and an unparalleled flourishing of the arts. Poussin, Claude, and French Drawing in the Classical Age, a new exhibition opening at the Morgan Library & Museum on June 16, explores the work of some of the most celebrated artists of the time. More than fifty drawings largely from the Morgan’s collections—including works by Claude Lorrain, Nicolas Poussin, Jacques Callot, and Charles Le Brun—will be on view. Together they demonstrate the era’s distinctive approach to composition and subject matter, informed by principles of rationalism, respect for the art of classical antiquity, and by a belief in a natural world governed by divine order. The exhibition runs through October 15. Nicolas Poussin (1594–1665), Death of Hippolytus, 1645, pen and brown ink and wash over black chalk. The Morgan Library & Museum; Purchased by Pierpont Morgan in 1909, I, 267. “The Grand Siècle saw artistic development unlike any before it in France,” said Colin B. Bailey, director of the Morgan Library & Museum. “The visual arts, literature, music, drama, and architecture all prospered. -
A Private Mystery: Looking at Philippe De Champaigne’S Annunciation for the Hôtel De Chavigny
chapter 20 A Private Mystery: Looking at Philippe de Champaigne’s Annunciation for the Hôtel de Chavigny Mette Birkedal Bruun Mysteries elude immediate access. The core meaning of the Greek word μυστήριον (mystérion) is something that is hidden, and hence accessible only through some form of initiation or revelation.1 The key Christian mysteries concern the meeting between Heaven and Earth in the Incarnation and the soteriological grace wielded in Christ’s Passion and Resurrection as well as in the sacraments of the Church. Visual representations of the Christian myster- ies strive to capture and convey what is hidden and to express the ineffable in a congruent way. Such representations are produced in historical contexts, and in their aspiration to represent motifs that transcend time and space and indeed embrace time and space, they are marked through and through by their own Sitz-im-Leben. Also, the viewers’ perceptions of such representations are embedded in a historical context. It is the key assumption of this chapter that early modern visual representations of mysteries are seen by human beings whose gaze and understanding are shaped by historical factors.2 We shall approach one such historical gaze. It belongs to a figure who navigated a particular space; who was born into a particular age and class; endowed with a particular set of experiences and aspirations; and informed by a particular devotional horizon. The figure whose gaze we shall approach is Léon Bouthillier, Comte de Chavigny (1608–1652). The mystery in focus is the Annunciation, and the visual representation is the Annunciation painted 1 See Strong’s Exhaustive Concordance, “3466. -
Symbolism and Politics: the Construction of the Louvre, 1660-1667
Symbolism and Politics: The Construction of the Louvre, 1660-1667 by Jeanne Morgan Zarucchi The word palace has come to mean a royal residence, or an edifice of grandeur; in its origins, however, it derives from the Latin palatium, the Palatine Hill upon which Augustus established his imperial residence and erected a temple to Apollo. It is therefore fitting that in the mid-seventeenth century, the young French king hailed as the "new Augustus" should erect new symbols of deific power, undertaking construction on an unprecedented scale to celebrate the Apollonian divinity of his own reign. As the symbols of Apollo are the lyre and the bow, so too were these constructions symbolic of how artistic accomplishment could serve to manifest political power. The project to enlarge the east facade of the Louvre in the early 1660s is a well-known illustration of this form of artistic propaganda, driven by what Orest Ranum has termed "Colbert's unitary conception of politics and culture (Ranum 265)." The Louvre was also to become, however, a political symbol on several other levels, reflecting power struggles among individual artists, the rivalry between France and Italy for artistic dominance, and above all, the intent to secure the king's base of power in the early days of his personal reign. In a plan previously conceived by Cardinal Mazarin as the «grand dessin,» the Louvre was to have been enlarged, embellished, and ultimately joined to the Palais des Tuileries. The demolition of houses standing in the way began in 1657, and in 1660 Mazarin approved a new design submitted by Louis Le Vau. -
COVER NOVEMBER Prova.Qxd
52-54 Lucy Art March-Aprilcorr1_*FACE MANOPPELLO DEF.qxd 2/28/21 12:12 PM Page 52 OIfN B TooHksE, AErYt EaSn dO PFe oTpHle E BEHOLDERS n BY LUCY GORDAN (“The NIl eMwo nWdoor lNd”o)v bo y Giandomenico Tiepolo, from the Prado, Madrid. Below , bTyh eR eGmirlb irna na dt, fFroramm te he Royal Castle Museum, Warsaw affeo Barberini (1568-1644) became Pope Urban the help of Borromini, Bernini took over. The exterior, in - VIII on August 6, 1623. During his reign he ex - spired by the Colosseum and similar in appearance to the Mpanded papal territory by force of arms and advan - Palazzo Farnese, which had been constructed between 1541 tageous politicking and reformed church missions. But he and c. 1580, was completed in 1633. is certainly best remembered as a prominent patron of the When Urban VIII died, his successor Pamphili Pope In - arts on a grand scale. nocent X (r. 1644-1655) confiscated the Palazzo Barberini, Barberini funded many sculptures from Bernini: the but returned it in 1653. From then on it continued to remain first in c. 1617 the “Boy with a Dragon” and later, when the property of the Barberini family until 1949 when it was Pope, several portrait busts, but also numerous architectural bought by the Italian Government to become the art museum works including the building of the College of Propaganda it is today. But there was a problem: in 1934 the Barberinis Fide, the Fountain of the Triton in today’s Piazza Barberini, had rented a section of the building to the Army for its Offi - and the and the in St. -
Gemälde Galerie Alte Meister Gemäldegalerie Alte Meister Gemäldegalerie Alte Gemälde Galerie Alte Meister
Museumsführer Museumsführer GEMÄLDE GALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE GEMÄLDE GALERIE ALTE MEISTER Herausgegeben von den Staatlichen Kunstsammlungen Dresden, Stephan Koja Stephan Koja Eine derart groß angelegte Sammeltätigkeit war möglich, weil das Kurfürsten tum Sachsen zu den wohlhabendsten Gebieten des Heiligen Römischen Reiches Deut- »Ich wurde ob der Masse des scher Nation gehörte. Reiche Vorkommen wertvoller Erze und Mineralien, die Lage am Schnittpunkt wichtiger Handelsstraßen Europas sowie ein ab dem 18. Jahrhun- Herrlichen so konfus« dert hochentwickeltes Manufakturwesen ermöglichten den Wohlstand des Landes. Die Dresdner Gemäldegalerie Neuordnung der Sammlungen unter August dem Starken 1707 ließ August der Starke die Gemäldesammlung aus den allgemeinen Beständen der Kunstkammer herauslösen und die besten Bilder in einem eigenen Raum im Schloss unterbringen. 1718 zogen sie weiter in den Redoutensaal, schließlich 1726 in den »Riesensaal« und dessen angrenzende Zimmer. Die übrigen Objekte der »Die königliche Galerie der Schildereien in Dresden enthält ohne Zweifel einen Kunstkammer bildeten den Grundstock für die anderen berühmten Sammlungen Schatz von Werken der größten Meister, der vielleicht alle Galerien in der Welt Dresdens wie das Grüne Gewölbe, die Porzellansammlung, das Kupferstich-Kabinett, übertrifft«, schrieb Johann Joachim Winckelmann 1755.1 Schon 1749 hatte er be- den Mathematisch-Physikalischen Salon oder die Skulpturensammlung. Denn schon eindruckt seinem Freund Konrad Friedrich Uden mitgeteilt: »Die Königl. Bilder um 1717 hatte August der Starke, wohl inspiriert durch dementsprechende Eindrü- Gallerie ist […] die schönste in der Welt.«2 cke auf Reisen, eine Funktionsskizze4 für die Aufteilung der Sammlung entworfen, In der zweiten Hälfte des 18. Jahrhunderts war die Dresdner Gemäldegalerie nach der das Sammlungsgut und nicht die historische Klassifizierung das Ordnungs- bereits ein Anziehungspunkt für Künstler, Intellektuelle und kulturaffine Reisende kriterium darstellte. -
Dossier Pédagogique | Le Nain Created
Exposition / 22 mars - 26 juin 2017 LE MYSTÈRE LE NAIN DOSSIER PÉDAGOGIQUE 1 Exposition : Crédits photographiques : Commissariat : NICOLAS M ILOVANOVIC , conservateur en chef, département Couverture © RMN-GP (musée du Louvre) / Mathieu Rabeau SOMMAIRE des Peintures, musée du Louvre P. 4-5 © The National Gallery, Londres, Dist. RMN-GP / National Gallery LUC P IRALLA , conservateur, musée du Louvre-Lens Photographic Department P. 6 © RMN-GP (musée du Louvre) / Mathieu Rabeau Directeur de publication : P. 7 (de haut en bas, 1 et 2) © RMN-GP (musée du Louvre) / Jean-Gilles MARIE LAVANDIER, directrice, musée du Louvre-Lens Berizzi P. 7 (de haut en bas, 3) © RMN-GP (musée du Louvre) / Mathieu Rabeau ÉDITO 4 Responsable éditoriale : P. 7 (de haut en bas, 4) © RMN-GP / Daniel Arnaudet JULIETTE G UÉPRATTE , chef du service des Publics, musée du Louvre-Lens P. 8 © National Gallery of Art P. 9 © State Hermitage Museum, St. Petersburg, Russia / Peter Willi / Coordination : Bridgeman Images INTRODUCTION 6 EVELYNE REBOUL , chargée des actions éducatives, musée du Louvre-Lens P. 10 © RMN-GP (musée du Louvre) / Michel Urtado GAUTIER VERBEKE, responsable de la médiation, musée du Louvre-Lens P. 12 © RMN-GP (musée du Louvre) / Mathieu Rabeau JEANNE-THÉRÈSE BONTINCK , médiatrice, musée du Louvre-Lens P. 13 (haut) © RMN-GP (musée du Louvre) / Franck Raux PARTIE 1 : QUI LES FRÈRES LE NAIN PEIGNENTKILS ? 6 P. 13 (bas) © The National Gallery, Londres, Dist. RMN-GP / National Conception : Gallery Photographic Department I. D ES DÉTAILS INTRIGANTS 6 JEANNE-THÉRÈSE BONTINCK , médiatrice, musée du Louvre-Lens P. 14 © RMN-GP (musée Picasso de Paris) / Jean-Gilles Berizzi II. -
List of Illustrations Plates P1
LIST OF ILLUSTRATIONS PLATES P1. I (frontispiece) retouched photograph: approximate reconstruction of the original state of Rembrandt's 'Anatomy of Dr. Nicolaes Tulp' (so called), 1632. London, Wellcome Institute. P1. 2 Rembrandt van Rijn, 'The anatomy (or "anatomy lesson"') of Dr. Nicolaes Tulp' (so called), oil painting, 1632, bears signature and date probably painted over autograph signature and date; with alterations by Rembrandt and more than one other hand. The Hague, Mauritshuis. P1. 3 Aert Pietersz., 'The anatomy (or "anatomy lesson") of Dr. Sebastiaen Egbertsz.' (so called), oil painting, signed with monogram and dated 1603. Amsterdam, Amsterdams Historisch Museum, currently exhibited at the Geschiedkundig Medisch-Pharmaceutisch Museum, Amsterdam. P1. 4 Michiel and Pieter van Miereveld, 'The anatomy (or "anatomy lesson") of Dr. Willem van der Meer' (so called), oil painting, signed and dated 1617. Delft, Oude en Nieuwe Gasthuis. P1. 5 Thomas de Keyser, 'The anatomy (or "anatomy lesson") of Dr. Sebastiaen Egbertsz.' (so called), oil painting, 1619. Amsterdam, Amsterdams Historisch Museum. P1. 6 Nicolaes Eliasz. (called Pickenoy), 'The anatomy (or "anatomy lesson") of Dr. Johan Fonteyn' (so called), oil painting, 1625. Central part (only surviv- ing fragment). Amsterdam, Amsterdams Historisch Museum. PI. 7 a demonstration of the anatomy of the upper limb at Grant medical college, Bombay, anonymous photograph, late nineteenth century. London, British Library (India Office Library and Archives). P1. 8 an anatomy at the Leiden anatomy-theatre, anonymous engraving, 1609, after a drawing by J. C. van 't Woudt (Woudanus). Amsterdam, Rijksprentenkabinet. P1. 9 dissection of the forearm. Detail from Rembrandt's so-called 'Anatomy of Dr.