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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. -
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. -
The Word Made Visible in the Painted Image
The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in -
A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde
A CATALOGUE OF THE PAINTINGS IN THE COLLECTION of SIR FREDERICK COOK, BT. A CATALOGUE OF THE PAINTINGS AT DOUGHTY HOUSE RICHMOND AND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE Edited by HERBERT COOK, M.A., F.S.A. VOLUME I ITALIAN SCHOOLS By DR TANCRED BORENIUS LONDON • WILLIAM HEINEMANN A CATALOGUE OFTHE PAINTINGS AT DOUGHTY HOUSE RICHMOND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE EDITED BY HERBERT COOK, M.A., F.S.A. HON. MEMBER OF THE ROYAL ACADEMY OF MILAN VOLUME II DUTCH AND FLEMISH SCHOOLS By J. O. KRONIG LONDON WILLIAM HEINEMANN M DCCCC XIV PREFATORY NOTE THE second volume of the Cook colledtion is devoted to the Dutch and Flemish Schools. The art of the so-called School of the Early Netherlands is reserved for the third volume, which will also contain the English, French, German and Spanish se&ions. In the present volume 190 Dutch and Flemish piitures are recorded, and of these 100 are illustrated either on photogravure plates or by collotype process. The former are executed by the Rembrandt Photogravure Co., of 36 Basinghall Street, E.C.; the latter are the work of Messrs Knighton & Cutts, of Red Lion Court, Fleet Street, E.C. As in the previous volume, single photographs can be obtained either from Signor Domenico Anderson, of Rome, or from Mr W. E. Gray, of 92 Queen’s Road, Bays- water; the register number for ordering is always quoted whenever the photograph exists. The text has been entrusted to Mr J. -
Allison M. Sherman Phd Thesis
THE LOST VENETIAN CHURCH OF SANTA MARIA ASSUNTA DEI CROCIFERI: FORM, DECORATION, AND PATRONAGE Allison Morgan Sherman A Thesis Submitted for the Degree of PhD at the University of St Andrews 2010 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1021 This item is protected by original copyright The Lost Venetian Church of Santa Maria Assunta dei Crociferi: Form, Decoration, and Patronage. Allison Morgan Sherman Submitted for the degree of Doctor of Philosophy School of Art History University of St Andrews 1 April 2010 Declaration 1. Candidate’s declarations: I, Allison Morgan Sherman hereby certify that this thesis, which is approximately 79,990 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2006 and as a candidate for the degree of Doctor of Philosophy in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date signature of supervisor 3. -
Sketchbook 46 Introduction
Introduction to SSB 46 (15 February–27 July 1857) by Philip Cottrell NB. All page references are to SSB 46 and catalogue numbers refer to items from the Art Treasures Exhibition’s Gallery of Ancient Masters unless otherwise specified. SSB 46 contains sketches of around seventy Art Treasures items, and encompasses the longest chronological span of any of the sketchbooks associated with the exhibition, a six- month period from mid-February to the end of July 1857. This has a lot to do with Scharf’s increasing workload at Old Trafford, and his inability to continuously update the content of the sketchbook for days, sometimes weeks, on end. Between February and April Scharf slowed and eventually concluded his countrywide survey of British collections, gradually abandoning plans for tours of Scotland, Ireland and the East of England. As paintings finally began to arrive at the Art Treasures Palace during March and April, he began hurriedly organising the hang of the Gallery of Ancient Masters in time for the opening of the exhibition on Tuesday 5 May.1 He was required to attend various official events associated with the exhibition thereafter, and worked intensively to complete his contribution to its definitive catalogue, which was not ready until the end of May (although a far more abbreviated, provisional edition had been issued in time for the exhibition’s opening). During this month and the next, Scharf was constantly shuttling between London and Manchester in order to fulfil a series of weekly Saturday lectures at Queens College, London. He also had to attend board meetings associated with his new appointment as Secretary to the recently formed National Portrait Gallery which he had secured in early March. -
Index I: Collections
Index I: Collections AACHEN, STÀDTISCHES SUERMONDT ANTWERP, KONINKLIJK MUSEUM MUSEUM VOOR SCHONE KUNSTEN Anonymous, oil sketch after Rubens: Rubens, paintings: The Crucifixion (Coup de Lance), No. Christ Expiring on the Cross, No.30; fig.96; 123-126 7, copy; 149 The Crucifixion (Coup de Lance), No.37; fig.110; 139-146 The Lamentation (triptych), Nos.64-68 AALST, M.V.VAN GHYSEGHEM The Lamentation, No.64; ftg.192; 222-225 Anonymous, painting after Rubens: The Virgin and Child, No.65; fig.195; 225-226 Christ Carrying the Cross, No.18, copy 2; 77 St John the Evangelist, No.66;flg .l9 6 ; 226-227 Christ Holding the Globe, No.67; fig.198; 227-228 The Virgin and Child, No.68; fig.199; 228 AARSCHOT, CHURCH OF OUR LADY Rubens's studio, painting after Rubens: J.B.Ketgen, painting after Rubens: The Descent from the Cross, No.43, copy 1; 162 Christ ana the Virgin (from The Lamentation with Anonymous, painting after Rubens: St Francis), No.70, copy 1; 229 The Lamentation, No.62, copy 1 ;fig,190; 218 ALMELO, J.H. GROBBEN ANTWERP, KREFIRMA Anonymous, painting after Rubens: Anonymous, painting after Rubens: The Crucifixion (Coup de Lance), No.37, copy 28; Christ Expiring on the Cross, No.31, copy 11; 128 ' 141 ANTWERP, ROCKOXHUIS AMSTERDAM, J.J. GELUK Rubens, oil sketch: Anonymous, painting after Rubens: Christ on the Cross Addressing His Mother, St John The Lamentation, No.64, copy 14; 222 and St Mary Magaalen, No.34; fig.104; 133-136 AMSTERDAM, CHR. P. VAN EEGHEN ANTWERP, ST PAUL S CHURCH Rubens, drawing: Crouching Man Seen from the Back, No.20i; Rubens, painting: fig.73; 104-105 The Flagellation, N o.ll; fig.24; 59 Antoon van Ysendyck, painting after Rubens: AMSTERDAM, RIJKSMUSEUM The Flagellation, No. -
Titian, ,A Singular Friend'
Originalveröffentlichung in: Kunst und Humanismus. Festschrift für Gosbert Schüßler zum 60. Geburtstag, herausgegeben von Wolfgang Augustyn und Eckhard Leuschner, Dietmar Klinger Verlag, Passau 2007, S. 261-301 CHARLES DAVIS Titian, ,A singular friend‘ A beautiful, if somewhat mysterious portrait painted by Tiziano Vecellio has found its ,last‘ home in the new world, in far away San Francisco, in a place, that is, which de- rives its name from a Spanish novel describing a paradisiacal island called California (figs. 1, 2, 3). Titian’s authorship of the portrait, now belonging to the San Francisco Art Museums and presently housed at the Palace of the Legion of Honor, is testified to by the painter’s signature, and it has never been questioned since the portrait first re- ceived public notice, belatedly, in 1844, when it appeared in the collection of the Mar- quis of Lansdowne. Less spectacular than some of Titian’s best known portraits, the portrait now in California nonetheless belongs to his finest portrayals of the men of his time. Several identifications have been proposed for the sitter, but none advanced with particular conviction. Although the nameless portrait testifies eloquently to the exi- stence of a noble man at rest, whose existence it indeed preserves and continues, his worldly identity remains an unresolved point of interest.1 The San Francisco Art Museums’ ,Portrait of a Gentleman‘ bear’s Titian’s signa- · ture in the inscription which the sitter holds. It reads unequivocally: D Titiano Vecel- lio / Singolare Amico. In all publications the inscription has been read: Di Tiziano sin- golare amico. -
Bulgarini, Saint Francis, and the Beginnings of a Tradition
BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura Dobrynin June 2006 This thesis entitled BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION by LAURA DOBRYNIN has been approved for the School of Art and the College of Fine Arts by Marilyn Bradshaw Associate Professor of Art History Charles McWeeney Dean, College of Fine Arts DOBRYNIN, LAURA, M.A., June 2006, Art History BULGARINI, SAINT FRANCIS, AND THE BEGINNING OF A TRADITION (110 pp.) Director of Thesis: Marilyn Bradshaw This thesis examines the influence of the fourteenth-century Sienese painter Bartolommeo Bulgarini through his depiction of Saint Francis of Assisi exposing his side wound. By tracing the development of this motif from its inception to its dispersal in selected Tuscan panel paintings of the late-1300’s, this paper seeks to prove that Bartolommeo Bulgarini was significant to its formation. In addition this paper will examine the use of punch mark decorations in the works of artists associated with Bulgarini in order to demonstrate that the painter was influential in the dissemination of the motif and the subsequent tradition of its depiction. This research is instrumental in recovering the importance of Bartolommeo Bulgarini in Sienese art history, as well as in establishing further proof of the existence of the hypothesized Sienese “Post-1350” Compagnia, a group of Sienese artists who are thought to have banded together after the bubonic plague of c.1348-50. -
Journal 08 March 2021 Editorial Committee
JOURNAL 08 MARCH 2021 EDITORIAL COMMITTEE Stijn Alsteens International Head of Old Master Drawings, Patrick Lenaghan Curator of Prints and Photographs, The Hispanic Society of America, Christie’s. New York. Jaynie Anderson Professor Emeritus in Art History, The Patrice Marandel Former Chief Curator/Department Head of European Painting and JOURNAL 08 University of Melbourne. Sculpture, Los Angeles County Museum of Art. Charles Avery Art Historian specializing in European Jennifer Montagu Art Historian specializing in Italian Baroque. Sculpture, particularly Italian, French and English. Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London. Andrea Bacchi Director, Federico Zeri Foundation, Bologna. Larry Nichols William Hutton Senior Curator, European and American Painting and Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant Colin Bailey Director, Morgan Library and Museum, New York. Sculpture before 1900, Toledo Museum of Art, Ohio. pre-twentieth-century artworks in the European tradition that have recently come to light or about which new research is Piers Baker-Bates Visiting Honorary Associate in Art History, Tom Nickson Senior Lecturer in Medieval Art and Architecture, Courtauld Institute of Art, underway, as well as on the history of their collection. Texts about artworks should place them within the broader context The Open University. London. of the artist’s oeuvre, provide visual analysis and comparative images. Francesca Baldassari Professor, Università degli Studi di Padova. Gianni Papi Art Historian specializing in Caravaggio. Bonaventura Bassegoda Catedràtic, Universitat Autònoma de Edward Payne Assistant Professor in Art History, Aarhus University. Manuscripts may be sent at any time and will be reviewed by members of the journal’s Editorial Committee, composed of Barcelona. -
The Man of Grace: Rembrandt's Portraits of Individual As Saints
The Man of Grace: Rembrandt’s Portraits of Individuals as Saints by Su-Chi Lin Introduction While the positive influences of the Reformation have long been considered as limited to the development of a visual tradition in early Protestantism, Rembrandt’s The Apostle Paul in its contemporary setting offers the opportunity for further examining the “inner quality” of Protestant aesthetics in a new way.1 Rembrandt van Rijn’s (1606-1669) The Apostle Paul (1657) and his other late religious portraits are well known for their deep “humanity” (Fig.1).2 Rembrandt’s apostles, as Arthur Wheelock argues, have “Protestant quality” in their humility.3 Through referencing the apostle’s association to the Biblical text and church tradition, Volker Manuth examines the historical importance and artistic reception of apostles in varieties of representations.4 Building upon Wheelock and Manuth’s research on Rembrandt’s apostle series from the lens of Protestantism, this paper asks the question: How does Rembrandt’s The Apostle Paul convey theological expression? I will demonstrate that visual effect in Rembrandt’s The Apostle Paul can shed light on the viewer’s understanding of Protestant imagination. Su-Chi Lin 1 The Spatial Dimension The Apostle Paul is dynamic in its composition, simply composed of the image of a bearded old man with two-thirds length body against a plain wall. Yet, the left shoulder and lower part of the figure are ambiguously hidden in deep darkness. This unusual, inscrutable, dim darkness in composition attracts our eyes and serves as a gateway, invoking silently the viewer’s memory of an unknown “universe.”5 The depth of darkness reveals itself in specific details. -
Scultura a Padova: 1540-1620 Circa Monumenti E Ritratti
Università degli Studi di Trento Dipartimento di Lettere e Filosofia Scuola di Dottorato in Studi Umanistici Tesi di Dottorato Scultura a Padova: 1540-1620 circa Monumenti e ritratti Volume 1. Testo Tutor: ch.mo prof. Andrea Bacchi Dottorando: Luca Siracusano XXVI ciclo (2010-2013) Indice generale Premessa............................................................................................................. 9 1 “Da lo scarpello vostro redutto vivo ne l'arte”. Dal ritratto di una professione al ritratto individuale................................................................................................13 1.1 L'ultima stagione del magister in cathedra e la breve fortuna di Gian Girolamo Grandi ritrattista.............................................................................. 18 1.2 Tipologie isolate: il condottiero e il patriarca, due giuristi, due scolari ed un 'fuoriuscito' fiorentino................................................................................. 26 1.3 Il modello dominante: edicole con busto-ritratto all'antica........................33 1.3.1 Ritratto dell'autore nei frontespizi librari e busti-ritratto all'antica nelle tombe padovane.........................................................................................40 1.3.2 “Una memoria in tutto simile a quella del signor Lazzaro Bonamico”: la lunga fortuna di un modello (con una proposta per Danese Cattaneo).47 1.4 Appunti sul quadro giuridico..................................................................... 58 1.4.1 I monumenti al Santo.