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Basil Kerski
Akademie der Künste – European Alliance of Academies “They love to talk the talk, but what about walking the walk?” For European commitment against nationalism Basil Kerski Grass-Chodowiecki. Art defends diversity of identities - The feeling of gratitude for the invitation is nurtured by the fact that the trip from Berlin to Gdansk always awakens emotions and associations for me; personal ones (born in Gdansk, Iraqi father, Polish mother, living in Iraq, fled from there via Poland to West Berlin; Berlin, my second home; optimal location due to its Polish connections and new German- Middle Eastern identities; spiritual home of my ancestors; Jewish Dubs family from Lemberg/Lviv, which was shaped by Moses Mendelssohn; also a difficult place due to the experience of German crimes) - But as I travel from Gdansk to the Akademie der Künste in Berlin, I think above all of two Academy directors of the preceding organisations: Daniel Chodowiecki (born in 1726 in Gdansk), copper engraver, painter, Director of the Royal Prussian Academy Berlin from 1797 to 1801, son of a Polish Catholic nobleman and a Swiss Huguenot, successful in Berlin. I think of him, not because I am so familiar with the history of the Academy, no, but rather because Chodowiecki is a symbolic figure for today‘s democratic Gdansk. His graphic cycle dated 1773 about his trip to Gdansk and his two-month stay there is the most important document of a lost urban culture in Gdansk (predominantly Protestant German) in the Polish Republic of Nobles. At the time, Gdansk was the main port of the Polish- Lithuanian Republic of Nobles. -
The Library of Professor Eric G. Carlson
The Library of Professor Eric G. Carlson Part II: Rare Illustrated Books and Print Portfolios, ca. 1850-1930 405 titles, in ca. 585 physical volumes The Library of Professor Eric G. Carlson Part I: Art of France from the French Revolution to the End of the Third Republic, 1790-1940. General Reference Works and Monographs on Artists, with a special emphasis on prints and printmaking The art historian and art dealer Eric G. Carlson (1940-2016) was a noted specialist in French and American prints and drawings of the nineteenth and early twentieth centuries. A mediaevalist by training (Ph.D. Yale University), and professor at the State University of New York at Purchase from 1978 to 2006, Carlson brought a scholar's acumen to his exploration of lesser-known fields and figures of French art. His library reflects this, being exceptionally rich not just on the major artists of the era, but on the many painters and printmakers who remain to this day little known to the general public. Its coverage of the art of Romanticism, Realism, and Post-Impressionism, with very impressive concentrations on Géricault, Delacroix, Courbet, Degas and Gauguin, among others, is matched by a fascinating depth in the Symbolist and Nabi movements and the School of Pont-Aven, and the myriad Academic and Salon artists, illustrators and caricaturists who flourished between the start of the Second Empire and the end of the Third Republic. The library is unusually complete and sophisticated in the documentation and critical study of all aspects of the period, with rare exhibition and auction catalogues, and scarce early monographs, as well as the latest academic scholarship. -
National Gallery of Art
National Gallery of Art FOR IMMEDIATE RELEASE CONTACT: Ruth Kaplan May 23, 1995 Deborah Ziska (202) 842-6353 PRINTS BY JAMES MCNEILL WHISTLER AND HIS CONTEMPORARIES OPENS SUNDAY, JUNE 18. 1995, NATIONAL GALLERY OF ART WASHINGTON, D.C. -- A dazzling array of 138 works illustrating the printmaking achievements of James McNeill Whistler and his contemporaries in the United States and Europe will be presented at the National Gallery of Art, June 18 through December 31, 1995. Prints by James McNeill Whistler and His Contemporaries is a complementary exhibition to the major retrospective, James McNeill Whistler, on view May 28 through August 20, 1995. Both exhibitions are located in the West Building. "This exhibition is drawn primarily from the National Gallery's permanent collection. Visitors will see fifteen outstanding prints by Whistler presented among works by other leading artists who worked in the rich environment that existed for printmaking in the second half of the nineteenth century," said Earl A. Powell III, director, National Gallery of Art. Prints by James McNeill Whistler and His Contemporaries begins with prints by Charles Meryon and the artists at the core -more- Fourth Street at Constitution Avenue, N.W., Washington, D.C. 20505 whistler prints . page 2 of the etching revival of the 1860s, including Whistler, Felix Bracquemond, and Francis Seymour Haden. Meryon's views of old Paris helped focus attention on the rapidly changing city during its renovation into the first great modern capital. Contemporary critics compared Whistler's etchings from this period to those of Rembrandt. The graphic contributions of the impressionists are presented in lithographs, etchings, and monotypes by Edouard Manet, Edgar Degas, Camille Pissarro, and others. -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
Ellen Day Hale and the Painter-Etcher Movement.Carlisle, Pa.: the Rt out Gallery, Dickinson College, 2007
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-26-2007 Inked Impressions: Ellen Day Hale and the Painter- Etcher Movement Claire Ellen Angelilli Dickinson College Samantha Elizabeth Bellinger Dickinson College Brittany Maren Bosch Dickinson College Kathryn Elizabeth Malinowski Dickinson College Berna Onat Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the American Art and Architecture Commons Recommended Citation Earenfight, Phillip, et. al.Inked Impressions: Ellen Day Hale and the Painter-Etcher Movement.Carlisle, Pa.: The rT out Gallery, Dickinson College, 2007. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Claire Ellen Angelilli, Samantha Elizabeth Bellinger, Brittany Maren Bosch, Kathryn Elizabeth Malinowski, Berna Onat, Alexandra Jean Ruhfel, Stephanie Jane Shapiro, Jennifer Mary Thompson, Phillip Earenfight, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/14 InkedImpressions Ellen Day Hale and the Painter-Etcher Movement THE TROUT GALLERY Dickinson College Carlisle, Pennsylvania InkedImpressions Ellen Day Hale and the Painter-Etcher Movement January 26 – April 14, 2007 Curated by: Claire Angelilli Samantha Bellinger Brittany Bosch Kathryn Malinowski Berna Onat Alexandra Ruhfel Stephanie Shapiro Jennifer Thompson THE TROUT GALLERY – Dickinson College – Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. -
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. -
Könyv-11:Elrendezés 1.Qxd
International Yearbook of Aesthetics Volume 19, 2017 RETRACING THE PAST Historical continuity in aesthetics from a global perspective Edited by Zoltán Somhegyi International Association for Aesthetics Association Internationale d’Esthétique RETRACING THE PAST Historical continuity in aesthetics from a global perspective Edited by Zoltán Somhegyi The selection of essays in the 19th Yearbook of the International Association for Aesthetics aims to analyse the phenomenon of retracing the past, i.e. of identifying the signs, details and processes of the creative re-interpretation of long-lasting traditions both in actual works of art and in aesthetic thought, hence where the historical interconnectedness and the influence of earlier sources can appear. ISBN: 978-0-692-04826-9 INTERNATIONAL ASSOCIATION FOR AESTHETICS Retracing the past INTERNATIONAL YEARBOOK OF AESTHETICS Volume 19, 2017 INTERNATIONAL YEARBOOK OF AESTHETICS Volume 19, 2017 Edited by Zoltán Somhegyi RETRACING THE PAST Historical continuity in aesthetics from a global perspective International Association for Aesthetics Association Internationale d’Esthétique Copyright: the Authors and the International Association for Aesthetics Acknowledgement: The Publication Committee of the International Association for Aesthetics, Tyrus Miller, Curtis Carter and Ales Erjavec, for reviewing the essays. Every effort has been made to obtain permissions to use all copyrighted illustrations reproduced in this book. Cover design: Ahmad Manar Laham Editor: Zoltán Somhegyi Published by the International Association for Aesthetics http://www.iaaesthetics.org/ Santa Cruz, California, 2017 ISBN: 978-0-692-04826-9 CONTENTS Introduction 7 Zoltán Somhegyi 1. The paradox of mimesis 9 In connection with Aristotle Béla Bacsó 2. Reflections on the subject of Antiquity and the future 23 Raffaele Milani 3. -
E-N Fo N a D Vii.Mmxiii
e - n e w s f o a n i d d a o t i o s t n c u vii.mmxiii 1. Carl Blechen, View of the Colosseum in Rome, 1829 Oil on paper, mounted on panel, 18.7 x 31.9 cm Loan, promised gift from a private collector In 2010, as well as French, Danish and Dutch oil sketches from the estate of Carlos van Hasselt, the Fondation Custodia also acquired a group of works by Ger- man artists. Something I had never thought possible, to be able to add to these a work by Carl Blechen (1798–1840) – the most important exponent of the oil sketch from the German-speaking regions – has now come about. We owe this acquisi- tion to the immediate response of a private collector, who acted instantly when an unpublished View of the Colosseum in Rome dated 1829 came on to the market this spring (fig. 1). Prompted by enthusiasm about the initiative of expanding the collec- tion of oil sketches into an exciting and representative entity, he bought the paint- ing and loaned it to the Fondation Custodia with the intention of donating it in the DE L’ALLEMAGNE, future. : CARL BLECHEN Carl Blechen had long wanted to travel to Italy and finally set off on 6 September 1828, returning to Berlin fourteen months later. His trip released something in him. Painting en plein air led to an assurance in his brushwork and a different orientation in his art. His friend Karl Friedrich Schinkel called Blechen’s oil sketches ‘etwas promised gift Wirkliches von Kunst’, in which admiration for his faithfulness to visible reality resonates. -
Wyznawcy Bachusa – O Grupie Bentvueghels
uart ↪Q Nr 3(41)/2016 il. 1 Inicjacja w Bentvueghels (Inauguration of a New Member of the Bentvueghels in Rome) ok. 1660, Rijksmuseum, Amsterdam (autor nieznany) /40/ Kamil Kościelski / Wyznawcy Bachusa – o grupie Bentvueghels Wyznawcy Bachusa – o grupie Bentvueghels Kamil Kościelski Uniwersytet Wrocławski od koniec XV w. Półwysep Apeniński był istotnym przystankiem � 1 http://www.hadrianus.it/groups/ Pna drodze wielu szlaków handlowych, dzięki czemu region ten bentvueghels (data dostępu: 15 II 2016). przeżywał dynamiczny rozwój gospodarczy. Sprzyjająca koniunktu- 2 Ibidem. ra w pozytywny sposób wpływała na rozkwit życia kulturalnego we 3 Włoszech. Florencja, Rzym, Wenecja i Mediolan stały się ważnymi Ibidem. ośrodkami sztuki. W XVI i XVII w. Włochy stanowiły cel podróży studyjnych wielu holenderskich i flamandzkich artystów (wśród nich m.in. Peter Paul Rubens oraz członkowie rodziny Breughlów), którzy pragnęli zgłębić dzieła oraz tajniki warsztatu uznanych twór- ców. Na tym tle formowała się w Rzymie grupa określana mianem Bentvueghels. Stowarzyszenie to skupiało artystów zagranicznego pochodzenia – głównie holenderskiego i flamandzkiego. Nawiązuje do tego nazwa grupy, tłumaczona na język angielski jako Birds of a Feather (‘ptaki identycznego pióra’). Określenie Bentvueghels wią- że się z idiomem „Birds of a Feather Flock Together”, który oznacza, że ptaki o podobnym upierzeniu trzymają się razem. Stowarzyszenie było również znane pod nazwą Schildersbent, co można przełożyć jako ‘klika malarzy’. Członkami grupy bywali też jednak przedsta- wiciele innych sztuk i cechów rzemieślniczych – wśród nich rysow- nicy, grawerzy, rzeźbiarze, złotnicy, a nawet poeci 1. Szacuje się, że w ciągu całego okresu działalności stowarzyszenia (1620–1720) nale- żało do niego łącznie około 480 osób 2. Żyły one głównie w okolicach czterech rzymskich parafii – Santa Maria del Popolo, Sant’Andrea delle Fratte, San Lorenzo in Lucina oraz Santa Lucia della Tinta. -
D'este by Paolo Mariuz - Biographical Dictionary of Italians - Volume 39 (1991)
Antonio D'ESTE by Paolo Mariuz - Biographical Dictionary of Italians - Volume 39 (1991) He was born in Venice from Liberale in 1754. In 1769 his presence in the Venetian studio of the sculptor Giuseppe Bernardi, known as Il Torretti, is already documented. In November of the same year he met Antonio Canova, then twelve years old, who entered the same workshop to learn the art of sculpture. Between the two disciples was born a mutual friendship that constituted the most important and most significant relationship in the life of D'Este. In Venice he attended courses at the painting and sculpture academy. In October 1773 (or the following year), as he himself wrote in the Memoirs of Antonio Canova ( published in Florence 1864), he accompanied Canova to Possagno, where he assisted in the creation of the artist's first plastic work, the statue of Eurydice . In Rome, where he remained for the rest of his life, the D. arrived in 1777 in the wake of Giovanni Ferrari, who took over the management of Bernardi in 1774; between the two, contrasts soon arose that led to abandon the Ferrari to enter the workshop of the sculptor Massimiliano Trombetta (Niero, 1969, p30). In 1779 he moved to the study of M. Laboureur (where he remained until 1787). In that same year he married Teresa Arrigoni, as can be deduced from a letter from 18 Ag. 1829 addressed to S. Betti, in which he claims to be married for half a century (Rome, National Bibl., Ms. A 52.3). From the marriage the sons were born Giuseppe (born in Rome on March 19, 1779, Rome, Archbishop of the Vicariate, double positions 71/1804, VI [notary Gaudenzi]), who will dedicate himself to the practice of engraving under the guidance of G. -
Giovanni Volpato E Il Cantiere Romano
GIOVANNI VOLPATO E IL CANTIERE ROMANO Alla fine del Settecento Roma è non solo capitale del Cattolicesimo e sede di una Corte che resta paragone del fasto regale: è anche, e soprattutto, il centro della diffusione della conoscenza dell’antico. Sotto il governo di Pio VI, l’amore per il passato muove passioni e vite, e riunisce nella Città Eterna grand tourists, principi e monarchi, artisti e semplici avventurieri. Tutto sembra ruotare attorno a questi visitatori, che alimentano in primo luogo un vivace mercato dei reperti archeologici, ricercati, restaurati, copiati. Il governo papale da tempo tentava di governare il fenomeno: continua così l’obbligo di richiedere la licenza d’estrazione per chiunque volesse portare pezzi antichi fuori dallo Stato, e nel 1802, regnante Pio VII, arriverà il divieto di vendita all’estero. I papi non si limitano però a vietare: un’epoca di dispersioni di grandi raccolte (negli anni settanta quella Este a Tivoli, e poi Altieri, Capponi, Lante, Negroni) viene trasformata dai pontefici nell’occasione per ampliare le raccolte statali, portando a compimento un processo iniziato più di due secoli prima. Ma è più quello che si comprano i visitatori stranieri: emblematico è il caso degli acquisti di Gustavo III di Svezia durante il suo soggiorno romano del 1783-1784. Uno dei suoi fornitori sarà Giovanni Volpato che gli venderà, tra molto altro, delle versioni di Apollo e le Muse ricomposte da vari frammenti1 in maniera da avvicinarsi il più possibile ai marmi conservati nel Museo Pio Clementino tanto ammirato dal sovrano svedese. Insieme al resto, confluiranno nel Museo delle Antichità di Stoccolma voluto dal fratello Carlo (e reggente per il figlio del re assassinato, Gustavo IV Adolfo) nel 17942: quelle sale, recentemente riallestite così come le dipinse Peter Hilleström nel 1795, restano a esempio dell’amore portato da quegli uomini del Nord al mondo classico.