'Rubens and His Legacy' Exhibition in Focus Guide
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The Paintings and Sculpture Given to the Nation by Mr. Kress and Mr
e. FOR IMMEDIATE RELEASE THE COLLECTIONS OF THE NATIONAL GALLERY OF ART \YASHINGTON The National Gallery will open to the public on March 18, 1941. For the first time, the Mellon Collection, deeded to the Nation in 1937, and the Kress Collection, given in 1939, will be shown. Both collections are devoted exclusively to painting and sculpture. The Mellon Collection covers the principal European schools from about the year 1200 to the early XIX Century, and includes also a number of early American portraits. The Kress Collection exhibits only Italian painting and sculpture and illustrates the complete development of the Italian schools from the early XIII Century in Florence, Siena, and Rome to the last creative moment in Venice at the end of the XVIII Century. V.'hile these two great collections will occupy a large number of galleries, ample space has been left for future development. Mr. Joseph E. Videner has recently announced that the Videner Collection is destined for the National Gallery and it is expected that other gifts will soon be added to the National Collection. Even at the present time, the collections in scope and quality will make the National Gallery one of the richest treasure houses of art in the wor 1 d. The paintings and sculpture given to the Nation by Mr. Kress and Mr. Mellon have been acquired from some of -2- the most famous private collections abroad; the Dreyfus Collection in Paris, the Barberini Collection in Rome, the Benson Collection in London, the Giovanelli Collection in Venice, to mention only a few. -
Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
Joshua Reynolds's “Nice Chymistry”: Action and Accident in the 1770S Matthew C
This article was downloaded by: [McGill University Library] On: 06 May 2015, At: 11:53 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Art Bulletin Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rcab20 Joshua Reynolds's “Nice Chymistry”: Action and Accident in the 1770s Matthew C. Hunter Published online: 03 Mar 2015. Click for updates To cite this article: Matthew C. Hunter (2015) Joshua Reynolds's “Nice Chymistry”: Action and Accident in the 1770s, The Art Bulletin, 97:1, 58-76, DOI: 10.1080/00043079.2014.943125 To link to this article: http://dx.doi.org/10.1080/00043079.2014.943125 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
National Trust Report
England will lose all historical buildings und beautiful nature places... AUDIO (I've already sendet it to Ms Suter (N.T.2)) Kingston Lacy Library in Kingston Lacy Souvenirs from Egypt ...if the National Trust wouldn't exist. In the time of global warming it is very important that somebody looks after beautiful places, otherwise these places will be lost. But also objects which aren't in danger because of global warming are endangered if nobody looks after them. The National Trust saves historical houses und nature reserves and restores them when needed. This charity is really important for England. That is why you should learn more about this organisation. In my post you will find a lot of information about the National Trust and you will see what people who live in England think about the National Trust. The National Trust Introduction When you make a journey through England and you visit special places or buildings you might see a board with information about this place. On this board you will often see the company logo of the National Trust which is a branch of maple leaves on a green background. When I visited London, I saw many such information boards. The National Trust supports for example Carlyleꞌ s House, the Eastbury Manor House and other tourist attractions. At the beginning of my project I knew that the National Trust does exist. But I wanted to know more about this charity. I wanted to find out whether my hypothesis: “The National Trust is very important for the environment and the historical buildings of England” is true or not. -
Find out More *Dogs Not Permitted at These Events
Events for autumn/winter 2019 Dorset / Gloucestershire / Somerset / Wiltshire Corfe Castle Father Christmas at Christmas at Arlington Court Find out more The selection of events here is a small part of what’s on offer. You can visit the events page of the website at ©National Trust Images/John Bish Images/John Trust ©National ©National Trust Images/Hannah Burton nationaltrust.org.uk/ Events near you whats-on and use the search function to for autumn & find out everything that’s going on winter 2019 near you, or at your favourite place. Key to How to book symbols Facilities and access information can We have indicated where there is an event charge and where booking is necessary. Please note that normal admission charges apply Half-term be found on each unless you are a member. All children must be accompanied by an place’s homepage adult. And please check beforehand as to whether or not dogs are Halloween on the website, as welcome. We do take every effort to ensure that all event details are can contact details if correct at the time of going to press. The National Trust reserves the Christmas right to cancel or change events if necessary. you require further Tickets are non-refundable. Father information. Christmas ©National Trust Images/John Millar New Year’s ramble Walk with an archaeologist BATH AND NORTH Sun 5 Jan, 9.30am-2pm BRISTOL Sat 16 Nov, 2-4pm On this fairly fast-paced guided walk of the Discover the secrets of Cadbury Camp Iron EAST SOMERSET Bath Skyline you may burn off some Age hill fort on this walk with archaeologist Christmas calories, but a diversion to Prior Leigh Woods Martin Papworth. -
Lot and His Daughters Pen and Brown Ink and Brown Wash, with Traces of Framing Lines in Brown Ink
Giovanni Francesco Barbieri GUERCINO (Cento 1591 - Bologna 1666) Lot and his Daughters Pen and brown ink and brown wash, with traces of framing lines in brown ink. Laid down on an 18th century English mount, inscribed Guercino at the bottom. Numbered 544. at the upper right of the mount. 180 x 235 mm. (7 1/8 x 8 7/8 in.) This drawing is a preparatory compositional study for one of the most significant works of Guercino’s early career; the large canvas of Lot and His Daughters painted in 1617 for Cardinal Alessandro Ludovisi, the archbishop of Bologna and later Pope Gregory XV, and today in the monastery of San Lorenzo at El Escorial, near Madrid. This was one of three paintings commissioned from Guercino by Cardinal Ludovisi executed in 1617, the others being a Return of the Prodigal Son and a Susanna and the Elders. The Lot and His Daughters is recorded in inventories of the Villa Ludovisi in Rome in 1623 and 1633, but in 1664 both it and the Susanna and the Elders were presented by Prince Niccolò Ludovisi, nephew of Gregory XV, to King Phillip IV of Spain. The two paintings were placed in the Escorial, where the Lot and His Daughters remains today, while the Susanna and the Elders was transferred in 1814 to the Palacio Real in Madrid and is now in the Prado. Painted when the artist was in his late twenties, the Lot and his Daughters is thought to have been the first of the four Ludovisi pictures to be painted by Guercino. -
The Spell of Belgium
The Spell of Belgium By Isabel Anderson THE SPELL OF BELGIUM CHAPTER I THE NEW POST THE winter which I spent in Belgium proved a unique niche in my experience, for it showed me the daily life and characteristics of a people of an old civilization as I could never have known them from casual meetings in the course of ordinary travel. My husband first heard of his nomination as Minister to Belgium over the telephone. We were at Beverly, which was the summer capital that year, when he was told that his name was on the list sent from Washington. Although he had been talked of for the position, still in a way his appointment came as a surprise, and a very pleasant one, too, for we had been assured that “Little Paris” was an attractive post, and that Belgium was especially interesting to diplomats on account of its being the cockpit of Europe. After receiving this first notification, L. called at the “Summer White House” in Beverly, and later went to Washington for instructions. It was not long before we were on our way to the new post. Through a cousin of my husband’s who had married a Belgian, the Comte de Buisseret, we were able to secure a very nice house in Brussels, the Palais d’Assche. As it was being done over by the owners, I remained in Paris during the autumn, waiting until the work should be finished. My husband, of course, went directly to Brussels, and through his letters I was able to gain some idea of what our life there was to be. -
Webfile121848.Pdf
0 TABLE OF CONTENTS Press release ................................................................................................................................................... 2 Catalogue text: Nico Van Hout - Curator ...................................................................................................... 6 Gallery texts ................................................................................................................................................... 11 Transversal Activities ................................................................................................................................... 14 BOZAR MUSIC ......................................................................................................................................... 14 BOZAR LITERATURE ............................................................................................................................. 17 BOZAR EXPO ........................................................................................................................................... 17 BOZAR CINEMA ...................................................................................................................................... 18 Rubens for families ...................................................................................................................................... 19 Disovery trails for families (6>12) ........................................................................................................... 19 -
Imaging the Egyptian Obelisk at Kingston Lacy
Imaging the Egyptian Obelisk at Kingston Lacy Lindsay MacDonald Jane Masséglia Charles Crowther Faculty of Engineering Department of Classics Department of Classics University College London Oxford University Oxford University [email protected] [email protected] [email protected] Ben Altshuler Sarah Norodom Andrew Cuffley Department of Classics Department of Classics GOM UK Limited Oxford University Oxford University Coventry [email protected] [email protected] [email protected] James Grasby South-West Region The National Trust [email protected] The obelisk that stands in the grounds of the National Trust property at Kingston Lacy, Dorset, was brought from Egypt in 1821 by William John Bankes. Known as the Philae obelisk, it has hieroglyphic inscriptions on the tapered granite column and Greek on the pedestal. In a multidisciplinary project to mark the success of the Philae comet mission, the inscriptions have been digitised by both reflectance transform imaging and 3D scanning. Novel imaging techniques have been developed to stitch together the separate RTI fields into a composite RTI for each face of the obelisk in registration with the geometric structure represented by the 3D point cloud. This will provide the basis for both paleographic examination of the inscriptions and visualisation of the monument as a whole. Keywords: Digital archaeology, reflectance transform imaging, 3D scanning, palaeography, monument 1. HISTORY OF THE OBELISK Travelling up the Nile, the island of Philae (on the ancient border of Egypt and Nubia) fascinated Kingston Lacy has one of the earliest collections Bankes, as the beauty of its temples had similarly of Egyptian artefacts in Britain, including the 6.7m captivated other European visitors. -
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust. -
John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. -
The Drawing Ezine
Drawing Workshops Portrait Drawing Painting for Beginners Workshops Workshops THE DRAWING EZINE How to Draw the Portrait in Conte The visual language of drawing has evolved tremen- dously over the past few centuries. An almost magi- cal trick happens within our cerebrum when we view a flat surface on which marks have been inscribed. Look- ing at a portrait drawing – particularly a master draw- ing of exquisite lines and tones – we immediately see past the markings of chalk and engage in a visual and emotional dialogue. The more masterful the drawing the more we engage it. This, too, is also the brutal reality of portrait drawing. If the threshhold of plausibility, namely, does the draw- ing read accurately, is not met then our work is readily dismissed. Additionally the spirit of a drawing, it’s emo- tional pull, is critically important. I am thinking of the portrait drawings of van Gogh when I say this. Con- versely, a technically accurate rendering alone will not make a drawing a ‘success’. The saccherine works Peter Paul Rubens, Isabella Brant, of William-Adolphe Bougeureau (1825-1905) come to A Portrait Drawing, 1621 mind. © 1998-2013. All rights reserved. William-Adolphe Bouguereau, Vincent van Gogh, Drawing of a Woman Self-Portrait In the late 19th Century Bougeureau was considered the greatest painter of his time – his paintings commanded astounding prices and he was a much sought after guest at high society galas while up on the hill in Montmartre artists such as van Gogh and Modigliani huddled over cold cups of coffee for their sustenance.