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Rembrandt Packet Aruni and Morgan.Indd
Rembrandt Harmenszoon Van Rijn Etchings Education Packet The Florida State University September 20- October 6 Museum of Fine Arts See website for updates of times, www.MOFA.fsu.edu hours and events. Table of Contents Rembrandt Harmenszoon van Rijn Biography ...................................................................................................................................................2 Rembrandt’s Styles and Influences ............................................................................................................ 3 Printmaking Process ................................................................................................................................4-5 Focus on Individual Prints: Landscape with Three Trees ...................................................................................................................6-7 Hundred Guilder .....................................................................................................................................8-9 Beggar’s Family at the Door ................................................................................................................10-11 Suggested Art Activities Three Trees: Landscape Drawings .......................................................................................................12-13 Beggar’s Family at the Door: Canned Food Drive ................................................................................14-15 Hundred Guilder: Money Talks ..............................................................................................16-18 -
ICLIP & MAIL Tornadoes Rip Path of Death
PAGE SIXTEEN - EVENING HERALD. Tues.. April 10, 1978 Frank and Emaat EDUCATIONAL TV DINNERS T H f t Y ' P E *'epueArioN AL" i B c n u s B Police Malting Plans Panel Passes Measure Residents Not in Tune Caldwell Stops RSox, r- 1 IF y o u BAT O N E, For the Energy Crisis To Create Gaming Czar To Song of the Rails Jackson Sparks Yanks Page 3 Page 10 Y o u 'L l S e Page 12 Page 13 N B x r t i m b . Strv/CM O lltr td 31 S » n lc 0M OUtrad 31 Painting-Papering 32 Building Contracting 33 E X P E R T PAIN T IN G and INCOME TAX .) P. LEWIS & SON- Interior LEON CIESZYNSKI LANDSCAPING Specializlnf; and Exterior painting, paper BUILDER- New Homes. Ad THW/ti 4-10 Haudipfitpr PREPARATION in Exterior House Painting. hanging, rcmcxieling. carpen ditions. Remodeling. Rec Tree pruning, spraying, try. Fully insured 649-9658. Rooms. 'Garages, FHtchenq Fair Tonight, mowing, wcemng. Call 742- Remodeled. Ceilings. Bath Dogs-BIrdt-Pelt 43 Apaifmentt For Bant 53 Wanted to Bent 57 Autos For Sale 61 ftliSINESS A INDIVIDUAL 7947. ' PERSONAL Paperhanging Tile. Dormers, Roofing Sunny Thursday INCOiME TAXES For particular people, by Residential or Commercim, COCKER SPANIEL THREE BEDROOM USED GAR SPECULS Dick. Call 643-5703 anytime, 649-4291. PUPPIES - AKC Registered. DUPLEX- Stove, I’HEPAHKD - In the com- 1975 nyMOUTH D U tm Details on page 2 Inrl of your home or office, Have shots. Great Easter refrigerator, dishwasher. I'/z TEACHERS- Experienced baths. -
Berlin.Pdf Novels by Arthur R.G
http://www.acamedia.info/literature/princess/A_Princess_In_Berlin.pdf Novels by Arthur R.G. Solmssen Rittenhouse Square (1968) Alexander's Feast (1971) The Comfort Letter (1975) A Princess in Berlin (1980) Takeover Time (1986) The Wife of Shore (2000) Copyright 2002: Arthur R.G. Solmssen ------------------------------------------------------------------------ Jacket painting: 'Dame mit Federboa' Gustav Klimt, Oil on canvas, 69 x 55,8 cm, 1909, Wien: Österreichische Galerie Belvedere. Source: The Androom Archives (http://www.xs4all.nl/~androom/welcome.htm). ------------------------------------------------------------------------ Internet Edition published 2002 by Acamedia at www.acamedia.info/literature/princess/A_Princess_In_Berlin.htm www.acamedia.info/literature/princess/A_Princess_In_Berlin.pdf ------------------------------------------------------------------------ A Princess in Berlin: English Summary Publisher: Little, Brown & Company, Boston/Toronto, 1980 Berlin 1922: Pandemonium reigns in the capital of Germany after the Allied victory in World War I and the fall of Kaiser Wilhelm II. The proletariat have swarmed out, waving the red banners of Communism; private armies of unemployed, disaffected veterans - Freikorps- roam the streets thrashing the Communists. The Weimar Republic ts estaablished under the protection of the Freikorps. An explosion of radical music, theater, and art manifests the seething rancor and nervous energy of the people. The most insane, paralyzing inflation the world has known makes life a misery for the hungry, desperate populace . Although the flower of their kind lie buried in Flanders fields, a few aristocratic families preserve their privileged, even exquisite lives: boating parties at summer palaces, chamber music in great townhouses on Sunday afternoons. This is the rich backdrop of "A Princess in Berlin", a social novel in the grand tradition of e.g. Theodor Fontane in the Germany of the 19th century. -
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. -
Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind
The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings by Arthur Mayger Hind This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Rembrandt, With a Complete List of His Etchings Author: Arthur Mayger Hind Release Date: February 5, 2010 [Ebook 31183] Language: English ***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS *** Rembrandt, With a Complete List of his Etchings Arthur M. Hind Fredk. A. Stokes Company 1912 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 Contents REMBRANDT . .1 BOOKS OF REFERENCE . .7 A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS . .9 Illustrations 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 . vii 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354. 24 7, I. BEGGAR MAN AND BEGGAR WOMAN CON- VERSING. 1630. B. 164 . 24 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66 . 25 23, I. BALD-HEADED MAN (REMBRANDT'S FA- THER?) In profile r.; head only, bust added after- wards. 1630. B. 292. First state, the body being merely indicated in ink . 26 38, II. THE BLIND FIDDLER. 1631. B. 138 . 27 40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133 . -
HNA April 11 Cover-Final.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
Die Jäger in Berlin
MITTEILUNGSBLATT DES LJV BERLIN 56. JAHRGANG DIE JÄGER IN BERliN 5 | September – Oktober 2018 www.ljv-berlin.de DER HEIDETERRIER: EIN SPEZIAlisT > SEITE 5 Internationale Berlin Ladies Jagdkonferenz Shooting Day > Seite 9 > Seite 12 EiNLADUNG ZUM SCHIESSEN DRÜCKJAGD SPEZIAL 2018 DER LANDESJAGDVERBÄNDE BERliN UND BRANDENBURG Das Schießen dient der Vorbereitung auf die anstehende Drückjagdsaison, bei dem verschiedene Jagdsituationen simuliert und trainiert werden können, um einen sicheren und waidgerechten Schuss auf der Jagd zu gewährleisten. Zugelassen sind Repetierbüchsen, Kipplaufwaffen und Selbstladebüchsen. Wiederholungen sind selbstverständlich möglich und sol- len den Übungseffekt erhöhen. Es werden DJV-Wildscheiben und Fotoscheiben mit jagdlicher Wertung genutzt. Veranstalter: Landesjagdverband Berlin e.V. und Landesjagdverband Brandenburg e.V. Schirmherr: Frankonia Schießleitung: Jürgen Rosinsky, Michael Pralat, Uwe Rosenow und Thomas Werdnik Austragungsort: DEVA Schießanlage Wannsee, Stahnsdorfer Damm 12, 14109 Berlin TERMIN: 08. SEPTEMBER 2018 BEGINN: 14.00 UHR | MELDESCHLUSS: 14.30 UHR | ENDE: 17.00 UHR StaND: A UND B Startgeld: €20,– inklusive einer Wiederholung, weitere Wiederholungen je €5,– Anmeldung: Am Austragungsort bei der Schießleitung, gültiger Jahresjagdschein oder gleichwertiger Versicherungsnachweis ist vorzulegen. Gäste sind herzlich willkommen. Es werden folgende Büchsendisziplinen geschossen (Änderungen vorbehalten): 1. 5 Schüsse auf 3 Wildscheiben auf laufende Scheibe, breite Schneise und langsamer Lauf, Rechts- und Linkslauf, auf 50m. 2. 5 Schüsse auf Wildscheiben Bock, Fuchs und Frischling auf 50 m, Anschlag sitzend. 3. 5 Schuss auf eine Wildscheibe Überläufer stehend angestrichen am Schießstock. Zugelassen sind alle Büchsenkaliber. Zur Vorbereitung auf die Drückjagd sollten Kaliber ab 6,5 mm zugelassen auf alles Schalenwild (2000 Joule) genutzt werden. Pro Stand steht ein Schießlehrer als Einweiser und Aufsicht zur Verfügung. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
20-A Richard Diebenkorn, Cityscape I, 1963
RICHARD DIEBENKORN [1922–1993] 20a Cityscape I, 1963 Although often derided by those who embraced the native ten- no human figure in this painting. But like it, Cityscape I compels dency toward realism, abstract painting was avidly pursued by us to think about man’s effect on the natural world. Diebenkorn artists after World War II. In the hands of talented painters such leaves us with an impression of a landscape that has been as Jackson Pollack, Robert Motherwell, and Richard Diebenkorn, civilized — but only in part. abstract art displayed a robust energy and creative dynamism Cityscape I’s large canvas has a composition organized by geo- that was equal to America’s emergence as the new major metric planes of colored rectangles and stripes. Colorful, boxy player on the international stage. Unlike the art produced under houses run along a strip of road that divides the two sides of the fascist or communist regimes, which tended to be ideological painting: a man-made environment to the left, and open, pre- and narrowly didactic, abstract art focused on art itself and the sumably undeveloped, land to the right. This road, which travels pleasure of its creation. Richard Diebenkorn was a painter who almost from the bottom of the picture to the top, should allow moved from abstraction to figurative painting and then back the viewer to scan the painting quickly, but Diebenkorn has used again. If his work has any theme it is the light and atmosphere some artistic devices to make the journey a reflective one. of the West Coast. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. 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 The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Nouvelles Hypothèses Sur Le Maître De Flémalle
L’œuvre du mois d é c e m b re 2 0 0 9 L’un des tableaux les plus importants du musée, La Nativité (fig. 1), a été exceptionnellement prêté à une exposition qui cherchait, à Francfort puis à Berlin, à mieux comprendre les rapports entre le peintre que l’on a convenu d’appeler « le Maître de Flémalle », Robert Campin et Rogier van der Weyden Le Maître de Flémalle : nouvelles hypothèses 1 L’ « invention » du Maître de Flémalle Au premier tiers du XVe siècle, dans les Pays-Bas En 1849, le Städel Museum de Francfort acquit trois panneaux bourguignons, est apparue une nouvelle façon de d’une grande force plastique : Une Vierge allaitant l’Enfant peindre, transposant les scènes religieuses dans un décor (fig. 2), une Sainte Véronique et une Trinité. Le vendeur contemporain et familier, s’attachant avec une sensibilité prétendit que ces panneaux provenaient de l’abbaye de nouvelle à l’expression des émotions, et traduisant, Flémalle près de Liège. Johann David Passavant, qui en fit plus que cela n’avait jamais été fait, les volumes, les l’achat pour le Städel, y voyait les œuvres de Rogier van der lumières, les matières et tous les détails du monde visible. Weyden le Jeune, mort en 1529. On reconnut ensuite que ce personnage n’avait jamais existé, et que les panneaux L’émergence de cette révolution artistique reste dans une n’avaient pas pu appartenir à l’abbaye de Flémalle. certaine mesure mystérieuse. Les historiens ont tenté Restait le « Maître de Flémalle », dont Hugo van Tschudi d’en reconstituer l’histoire, à partir des œuvres et des proposa, à la fin du XIXe siècle de reconstituer l’œuvre à témoignages et des archives qui nous sont parvenues. -
14 CH14 P468-503.Qxp 9/10/09 11:40 Page 468 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe
14_CH14_P468-503.qxp 9/10/09 11:40 Page 468 14_CH14_P468-503.qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe HE GREAT CATHEDRALS OF EUROPE’S GOTHIC ERA—THE PRODUCTS of collaboration among church officials, rulers, and the laity—were mostly completed by 1400. As monuments of Christian faith, they T exemplify the medieval outlook. But cathedrals are also monuments of cities, where major social and economic changes would set the stage for the modern world. As the fourteenth century came to an end, the were emboldened to seek more autonomy from the traditional medieval agrarian economy was giving way to an economy based aristocracy, who sought to maintain the feudal status quo. on manufacturing and trade, activities that took place in urban Two of the most far-reaching changes concerned increased centers. A social shift accompanied this economic change. Many literacy and changes in religious expression. In the fourteenth city dwellers belonged to the middle classes, whose upper ranks century, the pope left Rome for Avignon, France, where his enjoyed literacy, leisure, and disposable income. With these successors resided until 1378. On the papacy’s return to Rome, advantages, the middle classes gained greater social and cultural however, a faction remained in France and elected their own pope. influence than they had wielded in the Middle Ages, when the This created a schism in the Church that only ended in 1417. But clergy and aristocracy had dominated. This transformation had a the damage to the integrity of the papacy had already been done.