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Chiaroscuro in the Series of Books Titled the Art of Drawing Published by Search Press, Giovanni Civardi's Drawing Light &
Chiaroscuro In the series of books titled The Art of Drawing published by Search Press, Giovanni Civardi’s Drawing Light & Shade: Understanding Chiaroscuro discusses the application of this technique. Civardi says that “[c]hiaroscuro generally refers to the graduating tones, from light to dark, in a work of art, and the artist’s skill in using this technique to represent volume and mood” (Civardi, p. 3). Essentially, artists use chiaroscuro to show the contrast between light and dark areas in a composition “to suggest form in relation to a light source” (p. 3). The term chiaroscuro originated during the European Renaissance and artists developed the technique in various ways such as through composition, mood, and to show volume (p. 3; Harvard Art Museum glossary). For instance, chiaroscuro can be found in different kinds of art forms that include drawing, woodcuts, painting, photography, and in cinema (Hall; Landau and Parshall; Civardi). Within a compositional sense, Geertgen tot Sint Jans’s Nativity at Night (1490) is an example of establishing light sources within a painting (Earls; Hall). Ugo da Carpi, Giovanni Baglione, and Caravaggio developed the use of an unseen light source as part of the composition in their work (Earls; Hall). Caravaggio is accredited with developing the style which became known as tenebrism. This particular style stresses the intense contrast between light and dark where darkness is in prominence (Fichner-Rathus; Buser). In drawing and sketching, artists use pencil, charcoal, paint, ink, or a computer to create the effect of volume by establishing one or more light sources. In Drawing Light & Shade: Understanding Chiaroscuro, Civardi effectively explains form and cast shadow with a light source, the penumbra line “around the outer edge of the cast shadow [where] the darkness is less intense,” the shadow line, form shadow, the penumbra, cast shadow, and shadow line from the shadow cast by the object onto a surrounding surface (Civardi, pp. -
Il Tempo Di Caravaggio. Capolavori Della Collezione
COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca. -
The Virtuoso of Compassion Ingrid D
The Virtuoso of Compassion Ingrid D. Rowland MAY 11, 2017 ISSUE The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today by Terence Ward Arcade, 183 pp., $24.99 Valentin de Boulogne: Beyond Caravaggio an exhibition at the Metropolitan Museum of Art, New York City, October 7, 2016–January 22, 2017; and the Musée du Louvre, Paris, February 20–May 22, 2017 Catalog of the exhibition by Annick Lemoine and Keith Christiansen Metropolitan Museum of Art, 276 pp., $65.00 (distributed by Yale University Press) Beyond Caravaggio an exhibition at the National Gallery, London, October 12, 2016–January 15, 2017; the National Gallery of Ireland, Dublin, February 11–May 14, 2017 Catalog of the exhibition by Letizia Treves and others London: National Gallery, 208 pp., $40.00 (distributed by Yale University Press) The Seven Acts of Mercy a play by Anders Lustgarten, produced by the Royal Shakespeare Company, Stratford-upon- Avon, November 24, 2016–February 10, 2017 Caravaggio: The Seven Acts of Mercy, 1607 Pio Monte della Misericordia, Naples Two museums, London’s National Gallery and New York’s Metropolitan Museum of Art, mounted exhibitions in the fall of 2016 with the title “Beyond Caravaggio,” proof that the foul-tempered, short-lived Milanese painter (1571–1610) still has us in his thrall. The New York show, “Valentin de Boulogne: Beyond Caravaggio,” concentrated its attention on the French immigrant to Rome who became one of Caravaggio’s most important artistic successors. The National Gallery, for its part, ventured “beyond Caravaggio” with a choice display of Baroque paintings from the National Galleries of London, Dublin, and Edinburgh as well as other collections, many of them taken to be works by Caravaggio when they were first imported from Italy. -
The Symbolism of Blood in Two Masterpieces of the Early Italian Baroque Art
The Symbolism of blood in two masterpieces of the early Italian Baroque art Angelo Lo Conte Throughout history, blood has been associated with countless meanings, encompassing life and death, power and pride, love and hate, fear and sacrifice. In the early Baroque, thanks to the realistic mi of Caravaggio and Artemisia Gentileschi, blood was transformed into a new medium, whose powerful symbolism demolished the conformed traditions of Mannerism, leading art into a new expressive era. Bearer of macabre premonitions, blood is the exclamation mark in two of the most outstanding masterpieces of the early Italian Seicento: Caravaggio's Beheading a/the Baptist (1608)' (fig. 1) and Artemisia Gentileschi's Judith beheading Halo/ernes (1611-12)2 (fig. 2), in which two emblematic events of the Christian tradition are interpreted as a representation of personal memories and fears, generating a powerful spiral of emotions which constantly swirls between fiction and reality. Through this paper I propose that both Caravaggio and Aliemisia adopted blood as a symbolic representation of their own life-stories, understanding it as a vehicle to express intense emotions of fear and revenge. Seen under this perspective, the red fluid results as a powerful and dramatic weapon used to shock the viewer and, at the same time, express an intimate and anguished condition of pain. This so-called Caravaggio, The Beheading of the Baptist, 1608, Co-Cathedral of Saint John, Oratory of Saint John, Valletta, Malta. 2 Artemisia Gentileschi, Judith beheading Halafernes, 1612-13, Museo Nazionale di Capodimonte, Naples. llO Angelo La Conte 'terrible naturalism'3 symbolically demarks the transition from late Mannerism to early Baroque, introducing art to a new era in which emotions and illusion prevail on rigid and controlled representation. -
The Arts Thrive Here
Illustrated THE ARTS THRIVE HERE Art Talks Vivian Gordon, Art Historian and Lecturer at the Metropolitan Museum of Art, will present the following: REMEMBERING BIBLICAL WOMEN ARTISTS IN THEIR STUDIOS Monday, April 13, at 1PM Wednesday, May 20, at 1PM Feast your eyes on some of the most Depicting artists at work gives insight into the beautiful paintings ever. This illustrated talk will making of their art as well as their changing status examine how and why biblical women such as in society.This visual talk will show examples Esther, Judith, and Bathsheba, among others, from the Renaissance, the Impressionists, and were portrayed by the “Masters.” The artists Post-Impressionists-all adding to our knowledge to be discussed include Mantegna, Cranach, of the nature of their creativity and inspiration. Caravaggio, Rubens, and Rembrandt. FINE IMPRESSIONS: CAILLEBOTTE, SISLEY, BAZILLE Monday, June 15, at 1PM This illustrated lecture will focus on the work of three important (but not widely known) Impressionist painters. Join us as Ms. Gordon introduces the art, lives and careers of these important fi gures in French Impressionist art. Ines Powell, Art Historian and Educator at the Metropolitan Museum of Art, will present the following: ALBRECHT DURER and HANS HOLBEIN the ELDER Thursday, April 23, at 1PM Unequaled in his artistic and technical execution of woodcuts and engravings, 16th century German artist Durer revolutionized the art world, exploring such themes as love, temptation and power. Hans Holbein the Elder was a German painter, a printmaker and a contemporary of Durer. His works are characterized by deep, rich coloring and by balanced compositions. -
No, Not Caravaggio
2 SEPTEMBER2018 I valletta 201 a NO~ NOT CARAVAGGIO Crowds may flock to view Caravaggio's Beheading of StJohn another artist, equally talented, has an even a greater link with-Valletta -Mattia Preti. n 1613, in the small town of Taverna, in Calabria, southern Italy, a baby boy was born who would grow up to I become one of the world's greatest and most prolific artists of his time and to leave precious legacies in Valletta and the rest of Malta. He is thought to have first been apprenticed to Giovanni Battista Caracciolo, who was known as a follower and admirer of Caravaggio. His brother, Gregorio, was also a painter and painted an altarpiece for the Chapel of . the world designed and built by Preti, sometime in the 1620s Preti joined.him in the Langue of Aragon, Preti offered to do and no fewer than seven of his paintings Rome. · more wor1< on the then new and very, hang within it. They include the There he grasped Caravaggio's bareSt John's Co-Cathedral. Grand monumental titular painting and others techniques and those of other famous Master Raphael Cotoner accepted his which fit perfectly in the architecturally and popular artists of the age, including offer·and commissioned him to decorate designed stone alcoves he created for Rubens and Giovanni Lanfranco. the whole vaulted ceiling. The them. Preti spent time in Venice between 1644 magnificent scenes from the life of St In keeping with the original need for and 1646 taking the chance to observe the John took six years and completely the church, the saints in the images are all opulent Venetian styles and palettes of transformed the cathedral. -
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. -
The Baroque Underworld Vice and Destitution in Rome
press release The Baroque Underworld Vice and Destitution in Rome Bartolomeo Manfredi, Tavern Scene with a Lute Player, 1610-1620, private collection The French Academy in Rome – Villa Medici Grandes Galeries, 7 October 2014 – 18 January 2015 6 October 2014 11:30 a.m. press premiere 6:30 p.m. – 8:30 p.m. inauguration Curators : Annick Lemoine and Francesca Cappelletti The French Academy in Rome - Villa Medici will present the exhibition The Baroque Underworld. Vice and Destitution in Rome, in the Grandes Galeries from 7 October 2014 to 18 January 2015 . Curators are Francesca Cappelletti, professor of history of modern art at the University of Ferrara and Annick Lemoine, officer in charge of the Art history Department at the French Academy in Rome, lecturer at the University of Rennes 2. The exhibition has been conceived and organized within the framework of a collaboration between the French Academy in Rome – Villa Medici and the Petit Palais, Musée des Beaux-Arts de la Ville de Paris, where it will be shown from 24 February to 24 May 2015. The Baroque Underworld reveals the insolent dark side of Baroque Rome, its slums, taverns, places of perdition. An "upside down Rome", tormented by vice, destitution, all sorts of excesses that underlie an amazing artistic production, all of which left their mark of paradoxes and inventions destined to subvert the established order. This is the first exhibition to present this neglected aspect of artistic creation at the time of Caravaggio and Claude Lorrain’s Roman period, unveiling the clandestine face of the Papacy’s capital, which was both sumptuous and virtuosic, as well as the dark side of the artists who lived there. -
1622] Bartolomeo Manfredi
動としてのカラヴァジズムがローマに成 立したのである。註1) バルトロメオ・マンフレーディ[オスティアーノ、 1582 ― ローマ、1622] 本作品は2002年にウィーンで「マンフレーディの周辺の画家」の 《 キリスト捕 縛 》 作として競売にかけられ世に出た。註 2) その後修復を経て2004年、 1613–15 年頃 油 彩 、カ ン ヴ ァ ス 研究者ジャンニ・パピによって「マンフレーディの最も重要な作品の 120×174 cm ひ と つ 」と し て 紹 介 さ れ ( Papi 2004)、 ハ ー テ ィ エ ( Hartje 2004)お よ Bartolomeo Manfredi [Ostiano, 1582–Rome, 1622] The Capture of Christ び パ ピ( Papi 2013)のレゾネに真筆として掲載されたほか、2005–06 c. 1613–15 年にミラノとウィーンで開かれた「カラヴァッジョとヨーロッパ」展など Oil on canvas 註 3) 120×174 cm にも出 品された。 P.2015–0001 キリストがオリーヴ山で祈りをささげた後、ユダの裏切りによって 来歴/ Provenance: James Hamilton, 1st Duke of Hamilton (1606–1649), Scotland, listed in Inventories of 1638, 1643 and 1649; Archduke Leopold 捕縛されるという主題は、四福音書すべてに記されている(たとえば Wilhelm (1614–1662) from 1649, Brussels, then Vienna, listed in Inventories マタイ 26:47–56)。 銀 貨 30枚で買収されたユダは、闇夜の中誰がイ of 1659, 1660; Emperor Leopold I, Vienna, listed in Inventory of 1705; Emperor Charles VI, Stallburg, Vienna, listed in List of 1735; Anton Schiestl, エス・キリストであるかをユダヤの祭司長に知らせる合図としてイエ Curate of St. Peter’s Church, before 1877, Vienna; Church of St. Stephen, Baden, Donated by Anton Schiestl in 1877; Sold by them to a Private スに接吻をしたのである。マンフレーディの作品では、甲冑をまとった Collection, Austria in 1920 and by descent; Sold at Dorotheum, Vienna, 2 兵士たちに囲まれ、赤い衣をまとったキリストが、ユダから今にも裏 October 2002, lot 267; Koelliker Collection, Milan; purchased by NMWA in 2015. 切りの接吻を受けようとしている。キリストは僅かに視線を下に落と 展覧会歴/ Exhibitions: Milan, Palazzo Reale / Vienna, Liechtenstein し、抵抗するでもなく自らの運 命を受け入 れるかのように静 かに両 手 Museum, Caravaggio e l’Europa: Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, 15 October 2005–6 February 2006 / 5 を広げている。 March 2006–9 July 2006, no. -
Jusepe De Ribera and the Dissimulation of Sight
Jusepe de Ribera and the Dissimulation of Sight Paper abstract Itay Sapir, Italian Academy, Fall 2011 My overarching research program discusses seventeenth-century Central Italian painting as the site of epistemological subversion. In the Italian Academy project, the contribution of the Hispano-Neapolitan painter Jusepe/José de Ribera to the treatment of these issues will be analyzed. Early in his career, in his Roman years, Ribera was one of the most direct followers of Caravaggio; however, later on he evolved into a fully individual artistic personality, and developed further some of Caravaggio’s innovations. Most current research on Ribera concentrates on filling in the lacunae in the artist’s biography, on describing the change of style that arguably occurred around 1635 from darker, “naturalist” paintings to a more idealistic, classical style, and on discussing Ribera’s confused “national” character as a Spanish- born artist working in Spanish-ruled Naples to patrons both Spanish and Italian. My project will attempt to interpret Ribera’s art in terms of its epistemological stance on questions of sensorial perception, information transmission and opaque mimesis. Iconographical depictions of the senses are a convenient starting point, but I would like to show how Ribera’s pictorial interest in these issues can be detected even in works whose subject matter is more diverse. Some specific points of interest: Ribera’s depiction of figures’ eyes, often covered with thick shadows and thus invisible to the spectator’s gaze and complicating the visual network within the diegetic space of the work; sustained interest in sight deficiencies; and emphasis on haptic elements such as skin teXtures. -
Winter Dialogue-Final-2
Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor -
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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.).