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Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. -
Selected Works Selected Works Works Selected
Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 SELECTED WORKS SELECTED WORKS S Snite Museum of Art nite University of Notre Dame M useum of Art SELECTED WORKS SELECTED WORKS Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 S nite M useum of Art Snite Museum of Art University of Notre Dame SELECTED WORKS Snite Museum of Art University of Notre Dame Published in commemoration of the 25th anniversary of the opening of the Snite Museum of Art building. Dedicated to Rev. Anthony J. Lauck, C.S.C., and Dean A. Porter Second Edition Copyright © 2005 University of Notre Dame ISBN 978-0-9753984-1-8 CONTENTS 5 Foreword 8 Benefactors 11 Authors 12 Pre-Columbian and Spanish Colonial Art 68 Native North American Art 86 African Art 100 Western Arts 264 Photography FOREWORD From its earliest years, the University of Notre Dame has understood the importance of the visual arts to the academy. In 1874 Notre Dame’s founder, Rev. Edward Sorin, C.S.C., brought Vatican artist Luigi Gregori to campus. For the next seventeen years, Gregori beautified the school’s interiors––painting scenes on the interior of the Golden Dome and the Columbus murals within the Main Building, as well as creating murals and the Stations of the Cross for the Basilica of the Sacred Heart. In 1875 the Bishops Gallery and the Museum of Indian Antiquities opened in the Main Building. The Bishops Gallery featured sixty portraits of bishops painted by Gregori. In 1899 Rev. Edward W. J. -
Mviser ' ' O / / - K / Department of Fine Arts ^; Ü T T M a T a Buntmgàntt
THE SIGNIFICANCE OF THOMAS MORAN AS AN AMERICAN LANDSCAPE PAINTER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By JAMES BENJAMIN WILSON, A.B. , M. A. The Ohio State University 1955 Approved by: / W / 1 vLc L/; 6 ■ h l / ~ ^ ^ 7- Mviser ' ' O / / - k / Department of Fine Arts ^; ü t t m a t a Buntmgàntt, May 3, 1957 University Microfilms 313 N, First Street Ann Arbor, Michigan Attention: Patricia Colling, Editor Dear Mrs, Colling: After considerable delay I am writing to you to give you permission to reproduce by microfilm the illustrations in my Ph.D. dissertation titled "The Significance of Thomas Moran as an American Landscape Painter," dated 1955 at The Ohio State University. I am sorry for this delay and hope that it has not caused you great inconvenience. Sincerely yours, James B. Wilson ACKNOWLEDGMENTS ïïie writer is particularly grateful to the following persons for invaluable help in the preparation of this dissertation: to Dr., Fritiof Fryxell, Augustana College, Rock Island, Illinois, personal friend of the Moran family; to Dr. Carlton Palmer, Atlanta, Georgia, a dealer in Moran's works; to Mr. Robert G. McIntyre, Dorset, Vermont, and to Mr, Fred L. Tillotson, Bolton, England, both of whom knew the artist; to The Osborne Company, Clifton, New Jersey, and The Thomas D, Murphy Goimany, Red Oak, Iowa, who furnished the color plates; to the IGioedler and E. and A. Milch Galleries, New York, for kind pezmission to examine back files of Moran sales; and above all to Professors Frank Seiberling, Sidney Kaplan, and Ralph Fanning of The Ohio State Ihiiversity for material aid, encourage ment, and generous portions of time spent in reading and correcting the manuscript. -
A from the Metropolitan Museum Of
A from The Metropolitan Museum of Art t Cover: The Standard Bearer (detail) by Prince Rupert (1619-1682) alter Pietro della Vecchia MEZZOTINTS from The Metropolitan Museum of Art THE METROPOLITAN MUSEUM OF ART Sept. 4 > Nov. 3, J 968 THE SMITH COLLEQE MUSEUM OF ART NORTHAMPTON, MASSACHUSETTS Nov. 20 - Dec. 29, 1968 THE UNIVERSITY OF KANSAS MUSEUM OF ART Jan. 10 - Feb. 3, 1969 Library of Congress Catalog Card Number: 68-6G722 S> THE UNIVERSITY OF KANSAS MUSEUM OF ART Miscellaneous Publications No. 74 o Jo I ACKNOWLEDQMENTS The present exhibition was organized by Mr. John Ittmann, a student in the Department of History of Art at the University of Kan sas. Mr. Ittmann's work in the Print Department of the Metropolitan Museum of Art during the summer of 19(38 was supported in part by an undergraduate research grant from the College of Arts and Sciences, The University of Kansas. All of the prints included in this exhibition with the few exceptions noted in the catalogue are from the collection of the Print Department of the Metropolitan Museum of Art. At the Metropolitan it has been possible to supplement the exhibition with additional prints, includ ing a small group of early color mezzotints, which are not listed in the present catalogue. We wish to thank the Trustees and Staff of The Metropolitan Museum of Art for approving the loan of these prints and The Smith College Museum of Art and Michael Wentworth for additional loans. Mr. Ittmann wishes to express his personal thanks to Mr. McKendry, Miss Janet Byrne and to all the members of the Print Department of the Metropolitan Museum of Art for their unfailing cooperation; to Miss Eleanor Sayre of the Museum of Fine Arts, Boston, for her en couragement and advice; and to Mrs. -
J.M.W. Turner
J. M. W. TURNER (1775 - 1851) W. L. Wyllie 1905 1 THE BRITISH ARTISTS SERIES London George Bell and Sons 2 • PORTSMOUTH PREFACE hen asked by Messrs. Bell to write “The Life of Turner” for their Series W of “British Artists,” I at first refused, for my ideas flow but slowly, and I have not the pen of a ready writer. Moreover, the only time I can spare for literary work is after the light has failed for painting. On being again pressed I agreed to undertake the task, mainly influenced by my admiration for the work of the inimitable poet-painter who has been my study and delight since boyhood. The first thing to be done was to read all the books on the subject. To my consternation I soon found that at least seven lives of Turner had already been published. Later, in my search among the sketch-books stowed away in the basement of the National Gallery, I met a gentleman engaged on yet another exhaustive Turner biography. What chance has my little book against so many by professional writers? How can I expect to put down anything that has not been better said before? My only hope is that, being a painter, I may look at Turner’s life and work from a point of view different from that of a literary man. Gilbert Hamerton, it is true, did draw a little, but his books were very much better than his pictures. An artist should be better able to distinguish and note the influences and beauties, the difficulties and limitations of another artist’s work, than a critic or a teller of tales. -
Claude Lorrain's Pastoral Landscape (1645) at the Barber Institute
Claude Lorrain’s Pastoral Landscape (1645) at the Barber Institute Pastoral Landscape, Claude Lorrain (1604/05-1682),1645, oil on canvas, x cm © The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham (No. 53.6). Transcript Hello and welcome to this week’s Tuesday Talk, part of a series of podcasts given by staff and students at the Barber Institute of Fine Arts, at the University of Birmingham. I’m Robert Wenley, Deputy Director at the Barber Institute, and I’ll be talking today about the history of one of the most sublime paintings in the Barber’s collection, Claude Lorrain’s Pastoral Landscape of 1645 [No. 53.6]. This was treated by the conservator Ruth Bubb over the winter of 2019/20, and returned to the Barber just at the point we had to close, last March. One year on, what more appropriate picture could there be, to consider, and to delight in, as we finally emerge from the long dark months of lockdown, than this idyllic morning scene, bathed in warm and nurturing sunlight? Claude Lorrain, born Claude Gellée in 1604 or 1605, was a French painter, draughtsman and etcher, who spent most of his working life in Italy. He was productive, with about 250 oil paintings, 1300 drawings and 44 etchings known today, large numbers when one factors in his reputedly painstaking and meticulous technique. Although one of the earliest major artists to concentrate on landscape painting, he turned many of his compositions into the more prestigious genre of ‘history painting’ by the addition of a few small biblical or mythological figures. -
The Spirit & Force Of
THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 THE SPIRIT & FORCE OF ART: DRAWING IN BRITAIN 1600–1750 3 Clifford Street, London 20 June to 6 July 2018 London London Art Week 29 June to 6 July 2018 new york TeFAF New York Fall 27 to 31 October 2018 THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 Lowell Libson & Jonny Yarker Ltd London 2018 Contents Index of Artists 6 Foreword Lowell Libson 7 Introduction Jonny Yarker 8 3 Clifford Street · London w1S 2LF +44 (0)20 7734 8686 ‘The spirit and force of art’: [email protected] Defining Drawing in England, 1600–1750 www.libson-yarker.com Richard Stephens 11 Lowell Libson [email protected] A Lost Art? Collecting Early British Drawings Jonny Yarker & their Critical Fate [email protected] Richard Stephens and Jonny Yarker 33 Cressida St Aubyn [email protected] CATALoGUe Published by Lowell Libson & Jonny Yarker Ltd 2018 I Towards an English School 41 Text and publication © Lowell Libson & Jonny Yarker Ltd All rights reserved II Academies 69 ISBn 978 1 9999783 1 0 Designed by Dalrymple III The Rise of the Sketch 85 Set in Mário Feliciano’s Rongel type Photography by Rodney Todd-White & Son Ltd VI From Prospect to Landscape 101 Colour reproduction by Altaimage Ltd Printed in Belgium by Albe De Coker V From Ceiling to Exhibition Room: the Progress of History Painting 127 VI Face Painting 147 VII ‘A noble, delightful and useful art’: Drawings by Antiquarians, Amateurs and Artisans 169 VIII The Age of Hogarth 181 Notes and References 199 Index of Artists Foreword References are to catalogue numbers Laguerre, Louis 47 We are delighted to publish this catalogue which represents the culmination of over ten years of gathering these rare drawings which were created before the ‘Golden Age’ Amigoni, Jacopo 58 Laroon, Marcellus 73 of British watercolours and which demonstrate the formation of an identifiable ‘British’ Baron, Bernard 74 Laroon, Marcellus, the younger 84 School. -
Drawing with Light: Mezzotint Prints from the Rossof Collection Hope College Kruizenga Art Museum January 19 – June 26, 2021
Drawing with Light: Mezzotint Prints from the Rossof Collection Hope College Kruizenga Art Museum January 19 – June 26, 2021 Introduction The term mezzotint comes from Italian and literally means “half-tone.” It is the name of a printmaking technique that uses tones rather than lines to depict forms and define spaces. The mezzotint printmaking process starts with the artist roughening the surface of a metal plate so that it will hold ink and print a completely black field when the plate is run through a press. The artist then uses special tools to burnish selected areas of the plate, reducing or removing the roughened surface so that the plate will print a range of gray tones or white spaces in those areas. Through the burnishing process, an artist can produce highly refined pictorial images with subtly modulated tones similar to those found in oil paintings, watercolors and ink wash drawings. The 20th-century American printmaker Robert Kipniss once succinctly described the mezzotint process this way: “In mezzotint you draw with light. You start with velvety black and gradually introduce degrees of illumination and, as your focus sharpens, you slowly evolve shapes and space from darkness.” The rudimentary techniques of mezzotint printmaking were first developed by German artist Ludwig von Siegen (1609-1680) in the early 1640s. Those techniques were further refined in the 1650s and 60s by Anglo-German artist Prince Rupert of the Rhine (1619- 1682) and his Flemish pupil Wallerant Vaillant (1623-1677). Influenced by Prince Rupert and Vaillant, London and Amsterdam emerged as the most important centers of mezzotint printmaking in the late 17th and 18th centuries. -
500 Years of Printmaking: Prints and Illustrated Books at Bowdoin College
' PRINTS AND ILLUSTRATED BOOKS A I HOW DO IN (.(^' I i PRESENTED TO BOWDOIN COLLEGE BY BOWDOIN COLLEGE MUSEUM OF ART 500 YEARS OF PRINTMAKING I i i I I I 500 YEARS OF PRINTMAKING Prints and Illustrated Books at Bowdoin College David P. Becker Bowdoin College Museum of Art • Brunswick, Maine • 1978 / © 1978 The President and Trustees of Bowdoin College designed by Katy Homans frontispiece: 22. Jacques Callot, St. Armand typeset and printed by Thomas Todd Company, Boston PREFACE 500 Years of Printmaking: Punts and lllustiated Books at Bowdoin College is an exhibition intended to give the pubUc a rare opportunity to see objects seldom displayed: selections from the Museum of Art's print collection, and a group of the Library's most treasured books. Normally, these works are kept in closed draw- ers or cases for reasons of preservation. The printed images fade with too much exposure to light, and dust can abrade the surface of the paper. Concurrently with the exhibition, an attempt has been made to demon- strate printmaking techniques and to explain issues of print connoisseurship. It is hoped that 500 Years of Printmaking will engender enough enthusiasm to prevent the prints and books from being again hidden from view, becoming instead objects used in teaching at the College, and available to interested visitors to the Art Museum and Library for study. This effort could not have been possible without David Becker, who came to know the print collection in great depth, first as an undergraduate at Bowdoin and then, for four years, as Museum Registrar. -
LIBER VERITATIS, LIBER STUDIORUM, LIBER NATURAE UND ENGLISH LANDSCAPE SCENER Y Titel, Frontispiz Und Graphische Technik
Originalveröffentlichung in: Busch, Werner u.a. (Hrsgg.): Entree aus Schrift und Bild, Berlin 2008, S. 80-112 LIBER VERITATIS, LIBER STUDIORUM, LIBER NATURAE UND ENGLISH LANDSCAPE SCENER Y Titel, Frontispiz und Graphische Technik Werner Busch Claude Lorrains sog. Liber Veritatis enthält 195 eigenhändige Zeichnungen Claudes nach seinen Gemälden.1 Es befindet sich heute in aufgelöstem Zu stand im British Museum in London. Es handelte sich ursprünglich um ein gebundenes Skizzenbuch mit Lagen von jeweils vier weißen und vier blau en Seiten, Claude scheint es 1635 begonnen zu haben. 1637 nimmt es syste matischen Charakter an; von da an bis zu seinem Tode 1682 dokumentiert es so gut wie alle von Claude gefertigten Gemälde. Es sollte Claude vor Fälschungen schützen, insofern ist es zumeist in den Details genau, wenn auch Format und Proportionalität nicht unbedingt dem jeweiligen Original gemälde entsprechen. Insbesondere in Claudes späterer Phase dürfte der Li ber auch als Motivvorrat, als Repertoire, gedient haben, zugleich ist er eine Art „Catalogue raisonne“. Die vorwaltende Technik ist Federzeichnung mit Lavierung, gelegentlich mit weißen Höhungen, selten mit geringfügigen weiteren Farbangaben. Eine schwach andeutende Vorzeichnung der Feder zeichnung kann in schwarzer Kreide angelegt sein. Zumeist hat die Feder zeichnung einen deutlichen Braunton, die Lavierung ist grauer abgetönt. Als Tinte verwendet Claude Bister, dessen Braunton unterschiedlich aus fällt und der so auch unterschiedlich tonal einsetzbar ist. Der Nachteil von Bister -
Tonal Range Mezzotint & Aquatint Like the Print Methods Engraving and Etching, Mezzotint and Aquatint Are Both Intaglio Techniques
Tonal Range Mezzotint & Aquatint Like the print methods engraving and etching, mezzotint and aquatint are both intaglio techniques. Intaglio, an Italian term (pronounced in’talyō), refers to any method that carves into the printing plate—historically this was usually copper. Intaglio prints were rendered almost entirely in lines until the invention of mezzotint and aquatint in the 17th and 18th centuries. These innovations made it possible for the first time for prints to capture a complete range of tonal values, from subtlest silver to richest black and everything in between. This revolutionized the production of replicated images, because prints could be representationally complex with far less time and energy expended. Mezzotint and aquatint significantly widened the field of prints that were both original and reproductive (copied from other images), hence creating conditions for the proliferation and dissemination of visual culture and a broadening of visual communication and literacy. Tonal Range presents an overview of these techniques and their history by highlighting notable examples from the 18th century to the 20th century in the Museum’s collection. Mezzotint Mezzotint was developed in Amsterdam in the mid-16th century, but it really took hold in London in the later 16th century. By the 17th century it dominated English printmaking so much so that the French referred to it as la manière Anglaise (the English manner). The term mezzotint is an Anglicized version of the Italian mezzatinta (pl. mezzetinte), which translates as half-tint or half-tone. With mezzotint clusters of marks are made on the copper plate with a tool called a rocker (see illustration). -
Masters in Art Plate 1 3 3 5 7 4 7 Claude Lorbajn
M A S T E R S I N A R T In a a a M T I N A RT nswering dvertisements , ple se mention AS E RS M A S T E R S I N A R T I n a a a M T I N A RT nswering dvertisements , ple se mention AS ERS P R TR T O F CLA U D E L R R B O AI O AIN Y J OA CH I M VON S A N DR A BT in his w i ll Claude l ef a co of a o r i i lf py p a o f h mse to th e Ch uc h of St L t tr t r . uke . P o a and c o y have bo h d a ea i p i d . Th e o nl li i i rtr t t s pp re y keness o f th e art st wh c h h as an c a m to au hen c is th y l i i i y e n ravi n b Sandrart i “ i li i t t t e g g y n his A cadem a Nobi s s ma A s Pic to riae ub h i , p li s ed at Nuember in 1 6 8 rt r g 3. [ 35 8 1 24 M A S T E R S I N A R T — ' v alde mediocri - a rum imo n ib zl and learned little or nothing at school p , ere ro ceret.