DOCSLIB.ORG

Frist Center Hosts Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frist Center Hosts Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts Rembrandt and the Dutch Golden Age on view February 1–May 19, 2013 FOR IMMEDIATE RELEASE High-resolution images available CONTACT: Maggie Carrigan: (615) 744-3351, [email protected] Ellen Jones Pryor: (615) 243-1311, [email protected] Frist Center Hosts Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts Exhibition of Dutch Masterpieces Opens February 1, 2013 NASHVILLE, TENN. (November 29, 2012)—Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts will open at the Frist Center for the Visual Arts on February 1, 2013. Drawn entirely from the superb collection of the Detroit Institute of Arts, this exhibition presents works of the great Dutch masters including Frans Hals, Rembrandt van Rijn, Jacob van Ruisdael and Jan Steen, along with related decorative arts. Rembrandt and the Dutch Golden Age will remain on view in the Frist Center’s Ingram Gallery through May 19, 2013. Comprised of 73 paintings and 16 decorative arts, the exhibition sets the work of the great Dutch masters within the larger social, religious and political context of the Dutch Golden Age. Together these works provide a stunning survey of the art produced in the 17th century in the newly independent and prosperous Dutch Republic. ―We are pleased to have the opportunity to bring to the Frist Center an exhibition entirely devoted to 17th century Dutch painting that has been selected from one of the largest Jacob Isaacksz. van Ruisdael (Dutch, 1628–1682). The Jewish Cemetery, ca. 1654–55. Oil on canvas, 56 x 74 1/2 in. Detroit Institute of Arts, Gift of Julius H. Haass in memory of his brother Dr. Ernest W. Haass, 26.3 collections of Dutch art outside of the Netherlands,‖ Frist Center Executive Director Susan Edwards remarks. ―In addition to presenting works of exceptional beauty by numerous Dutch masters, the exhibition offers rare insight into the social and political climate of this beloved era in art history.‖ ―We are grateful to the H.G. Hill Realty Company for their generosity as our Gold Sponsor for Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts,‖ says Dr. Edwards. ―With their support, we are able to present some of the finest Dutch Golden Age paintings at the Frist Center and facilitate more opportunities for education and engagement.‖ Rembrandt and the Dutch Golden Age Page 2 of 6 ―As a family owned and operated company in Nashville for five generations, we are extremely invested in supporting and furthering our community,‖ says Wentworth Caldwell, Jr., Chairman of the H. G. Hill Company. ―To be able to bring some of the great art of the world to Middle Tennessee and, in turn, the many educational and community outreach opportunities it affords is a joy for us.‖ The Exhibition The exhibition will open with a gallery focusing on Rembrandt, the most innovative, versatile and influential Dutch artist of the 17th century. ―Rembrandt did not specialize in any one kind of painting, which distinguishes him from his contemporaries,‖ explains Frist Center Curator Trinita Kennedy. ―His vast production of paintings ranges across virtually every thematic category: genre, history painting, landscape, portraiture and still life. He was highly inventive and his work has never lost its extraordinary appeal.‖ The first gallery will also present works by Rembrandt’s teacher, the Amsterdam painter Pieter Lastman, and Rembrandt’s own students and followers. Rembrandt Rembrandt Harmensz.van Rijn (Dutch, 1606–1669). The Visitation, 1640. Oil on was famous in his own day and ran an important cedar panel, 22 1/4 x 18 7/8 in. Detroit Institute of Arts, City of Detroit Purchase, 27.200 workshop. While his exact number of pupils is unknown, it may have been as many as 40 to 50. ―Rembrandt’s students copied and collaborated on his paintings and it can be difficult to distinguish their work from his own,‖ Kennedy observes. ―Since the early 19th century, each generation of art historians has sought to define what was painted by Rembrandt, his pupils, his workshop, his circle and his followers. In this exhibition, we get to see how scholars are presently interpreting Rembrandt’s body of work.‖ After the opening gallery with works by Rembrandt and his circle, the rest of the paintings in the exhibition will be organized thematically, with galleries dedicated to: Portraiture: Faces of the Dutch Golden Age (featuring works by Frans Hals); Biblical Histories: The Impact of Calvinism on Religious Art in the Dutch Republic (Leonaert Bramer); Dutch Peasant Scenes and the Perils of Debauchery (Jan Steen); Domestic Interiors: Inner Worlds of the Dutch Republic (Pieter de Hooch, Gerard Ter Borch); Still-Life Painting: The World in Objects (Willem Kalf; Rachel Ruysch); Dutch Rachel Ruysch (Dutch, 1664–1750). Flowers in a Glass Vase, 1704. Oil on canvas, 33 x 26 3/8 in. Detroit Institute of Arts, Founders Society Purchase, Architectural Painting: Cityscapes and Church Robert H. Tannahill Foundation Fund, European deaccession funds, the Friends of Art and Flowers, Founders Junior Council, and various other funds and donors, 1995.67 Rembrandt and the Dutch Golden Age Page 3 of 6 Interiors (Emmanuel de Witte); Marine Painting and the Global Dutch Economy (Ludolf Backhuysen); and Dutch Landscapes: Local Scenery and Pride of Place (Jacob van Ruisdael). Education and Technology Frist Center Educator for Youth and Family Programs, Keri Jhaveri, has developed an educational component to enhance the visitor’s experience of Rembrandt and the Dutch Golden Age. In addition to 16 educational text panels, there will be 14 QR codes placed throughout the galleries that offer access to additional information designed to help visitors better understand the Dutch Golden Age and the social environment in which these objects were made. The text panels will describe the cultural context of the surrounding works, while the QR codes invite visitors with Smartphones to access additional images, audio files, and videos. Curator of Interpretation, Anne Taylor, has created a web-based Rembrandt and the Dutch Golden Age app that will also be available and can be accessed both on mobile devices and home computers. ~ ~ ~ The Detroit Institute of Arts Dutch Collection Founded in 1885, the Detroit Institute of Arts (DIA) possesses one of the most significant collections of 17th-century Dutch paintings in the United States. Its constellation of Dutch masters is notably large and is crowned by signature works by Frans Hals, Rembrandt van Rijn, Jacob van Ruisdael, Rachel Ruysch, Jan Steen, and Gerhard Ter Borch. The acquisition of Dutch painting has occupied a prominent position at the DIA since the late 19th century after a gift of over 80 European Old Master paintings—which included numerous Dutch Golden Age pictures—was bequeathed to the museum by founding trustee James E. Scripps. Beginning in 1924, the DIA’s Dutch collection was further shaped by Director William Valentiner, who was a Rembrandt specialist. Under his direction, the DIA made the spectacular acquisition of both Rembrandt’s The Visitation and Jacob van Ruisdael’s The Jewish Cemetery, which are universally recognized as sublime masterpieces of 17th century Dutch painting. The DIA continues to collect Dutch Golden Age painting to this day. Exhibition Credit This exhibition was organized by the Detroit Institute of Arts. Exhibition Acknowledgments Presenting Sponsors: Lynn and Ken Melkus Platinum Sponsor: The HCA Foundation on behalf of HCA and the TriStar Family of Hospitals Rembrandt and the Dutch Golden Age Page 4 of 6 Gold Sponsor: H.G. Hill Realty Co. Hospitality Sponsor: Union Station Hotel Special thanks to Ocean Way Nashville Recording Studios and Belmont University for their donation of recording time and professional expertise in the production of the exhibition audio tour. The Frist Center for the Visual Arts is supported in part by the Metro Nashville Arts Commission, the Tennessee Arts Commission and the National Endowment for the Arts. Related Public Programs Friday, February 1 Curator’s Perspective: Rembrandt and the Dutch 12:00 p.m. Golden Age: Highlights from the Detroit Institute of Frist Center Auditorium Arts Free; seating is first come, first seated Presented by: Salvador Salort-Pons, Ph.D., Head of the European art department and The Elizabeth and Allan Shelden Curator of European Painting at the Detroit Institute of Arts Dr. Salvador Salort-Pons explores the formation of the Detroit Institute of Arts’ Dutch collection. He brings to light many aspects of the movement and the masterpieces and their illustrious provenances, while explaining the significance of this collection within the context of American collecting. Saturday, February, 9 Kids Club: Still Life with Legs 10:30 a.m. or 1:00 p.m. Meet in the Upper-Level foyer of the Frist Center Registration is required: call 615.744.3357 to make your reservation. Designed for 5–10 year olds, the Frist Center Kids Club offers exciting opportunities for children to discover, explore, and create art. Free membership includes a Kids Club card, rewards for participation, hands-on activities in the Martin ArtQuest Gallery, and monthly projects in the art studios. Featured activity: Practice your powers of observation and drawing skills while getting up-close and personal with beetles, butterflies, and bugs. Inspired by the exhibition Rembrandt and the Dutch Golden Age: Highlights from the Detroit Institute of Arts, participants draw flora and fauna using watercolor pencils and simple drawing techniques for making little creatures crawl off the page. Thursday, February 14 Curator’s Tour: Rembrandt and the Dutch Golden Age: 12:00 p.m. Highlights from the Detroit Institute of Arts Meet at exhibition entrance Gallery admission required; members free Rembrandt and the Dutch Golden Age Page 5 of 6 Join Trinita Kennedy, curator at the Frist Center, as she considers the work of Frans Hals, Rembrandt van Rijn, Jacob van Ruisdael, and other great seventeenth-century Dutch painters within the larger social, religious, and political context of the Dutch Golden Age.
Load more

Recommended publications
  • Rembrandt Van Rijn
    Rembrandt van Rijn 1606-1669 REMBRANDT HARMENSZ. VAN RIJN, born 15 July er (1608-1651), Govaert Flinck (1615-1660), and 1606 in Leiden, was the son of a miller, Harmen Ferdinand Bol (1616-1680), worked during these Gerritsz. van Rijn (1568-1630), and his wife years at Van Uylenburgh's studio under Rem­ Neeltgen van Zuytbrouck (1568-1640). The brandt's guidance. youngest son of at least ten children, Rembrandt In 1633 Rembrandt became engaged to Van was not expected to carry on his father's business. Uylenburgh's niece Saskia (1612-1642), daughter Since the family was prosperous enough, they sent of a wealthy and prominent Frisian family. They him to the Leiden Latin School, where he remained married the following year. In 1639, at the height of for seven years. In 1620 he enrolled briefly at the his success, Rembrandt purchased a large house on University of Leiden, perhaps to study theology. the Sint-Anthonisbreestraat in Amsterdam for a Orlers, Rembrandt's first biographer, related that considerable amount of money. To acquire the because "by nature he was moved toward the art of house, however, he had to borrow heavily, creating a painting and drawing," he left the university to study debt that would eventually figure in his financial the fundamentals of painting with the Leiden artist problems of the mid-1650s. Rembrandt and Saskia Jacob Isaacsz. van Swanenburgh (1571 -1638). After had four children, but only Titus, born in 1641, three years with this master, Rembrandt left in 1624 survived infancy. After a long illness Saskia died in for Amsterdam, where he studied for six months 1642, the very year Rembrandt painted The Night under Pieter Lastman (1583-1633), the most impor­ Watch (Rijksmuseum, Amsterdam).
    [Show full text]
  • The Leiden Collection Catalogue, 2Nd Ed
    Rembrandt van Rijn (Leiden 1606 – 1669 Amsterdam) How to cite Bakker, Piet. “Rembrandt van Rijn” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/rembrandt-van-rijn/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. According to Rembrandt’s first biographer, Jan Jansz. Orlers (1570–1646), the most famous Dutch painter of the seventeenth century was born in Leiden on 15 July 1606, the ninth child of the miller Harmen Gerritsz van Rijn (1568–1630) and the baker’s daughter Neeltje Willemsdr van Suydtbrouck (ca. 1568–1640).[1] The painter grew up in the Weddesteeg, across from his father’s mill. He attended the Latin school in Leiden, and his parents enrolled him in the University of Leiden when he was fourteen, “so that upon reaching adulthood he could use his knowledge for the service of his city and the benefit of the community at large.”[2] This, however, did not come to pass, for Rembrandt’s ambitions lay elsewhere, “his natural inclination being for painting and drawing only.”[3] His parents took him out of school in 1621, allowing him to follow his passion. They apprenticed him to Jacob Isaacsz van Swanenburgh (1571–1638), who had just returned from Italy, “with whom he stayed for about three years.”[4] It is during this time that Rembrandt probably painted his earliest known works: Stone Operation (Allegory of Touch), Three Musicians (Allegory of Hearing), and Unconscious Patient (Allegory of Smell).[5] Rembrandt moved to Amsterdam in 1625 to complete his training with the leading painter of his day, Pieter Lastman (1583–1633), with whom, according to Arnold Houbraken, he stayed for six months.”[6] When Rembrandt returned to Leiden, he set up his own workshop in his parents’ house.
    [Show full text]
  • Rembrandt: a Milestone of Portraiture
    Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 (e): 2395-7247 Vol. VIII. 2016 IMPACT Factor - 3.9651 Rembrandt: a Milestone of Portraiture Syed Ali Jafar Assistant Professor Dept. of Painting, D.S. College, Aligarh. Email: [email protected] Abstract When we talk about portraiture, the name of Dutch painter Rembrandt comes suddenly in our mind who was born in 1607 and studied art in the studio of a well known portrait painter Pieter Lastman in Amsterdam. Soon after learning all the basics of art, young Rembrandt established himself as a portrait painter along with a reputation as an etcher (print maker). As a result, young and energetic Rembrandt established his own studio and began to apprentice budding artist almost his own age. In 1632, Rembrandt married to Saskia van Ulyenburg, a cousin of a well known art dealer who was not in favour of this love marriage. Anyhow after the marriage, Rembrandt was so happy but destiny has written otherwise, his beloved wife Saskia was died just after giving birth to the son Titus. Anyhow same year dejected Rembrandt painted his famous painting „Night Watch‟ which pull down the reputation of the painter because Rembrandt painted it in his favourite dramatic spot light manner which was discarded by the officers who had commissioned the painting. Despite having brilliant qualities of drama, lighting scene and movement, Rembrandt was stopped to obtain the commission works. So he stared to paint nature to console himself. At the same time, Hendrickje Stoffels, a humble woman who cared much to child Titus, married Rembrandt wise fully and devoted her to reduce the tide of Rembrandt‟s misfortune.
    [Show full text]
  • Rembrandt in Southern California Exhibition Guide
    An online exhibition exploring paintings by Rembrandt in Southern California. A collaboration between The Exhibition Rembrandt in Southern California is a virtual exhibition of paintings by Rembrandt Harmensz. van Rijn (Dutch, 1606–1669) on view in Southern California museums. This collaborative presentation offers a unique guide to exploring these significant holdings and provides information, suggested connections, and points of comparison for each work. Southern California is home to the third-largest assemblage of Rembrandt paintings in the United States, with notable strength in works from the artist’s dynamic early career in Leiden and Amsterdam. Beginning with J. Paul Getty’s enthusiastic 1938 purchase of Portrait of Marten Looten (given to LACMA in 1953; no. 9 in the Virtual Exhibition), the paintings have been collected over 80 years and are today housed in five museums, four of which were forged from private collections: the Hammer Museum, the J. Paul Getty Museum, and the Los Angeles County Museum of Art (LACMA) in Los Angeles; the Norton Simon Museum in Pasadena; and the Timken Museum of Art in San Diego. In addition, Rembrandt in Southern California provides insight into the rich holdings of etchings and drawings on paper by the master in museums throughout the region. Together, Southern California’s drawn, etched and painted works attest to the remarkable range of Rembrandt’s achievement across his long career. Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P 1 NO.
    [Show full text]
  • REPRODUCTION in the Summer of 1695, Johann Wilhelm, Elector
    CHAPTER EIGHT REPRODUCTION In the summer of 1695, Johann Wilhelm, Elector Palatine, visited Frederik Ruysch’s museum, where he undoubtedly saw paintings by Ruysch’s daughters, particularly those done by Rachel. At this time Rachel had just given birth to her first child, but motherhood had not prevented her from continuing her career as a painter. Her sister Anna had given up painting when she married, but Rachel had carried on, and could meanwhile demand high prices for her flower still lifes. In 1699 her success was formally recognized when she became the first woman elected to membership in Pictura, the painters’ confraternity in The Hague. In 1656 the Hague painters had withdrawn from the Guild of St Luke, having been prompted to do so by ‘arrogance’, according to their former guild-brothers, who included the house-painters and decora- tors. The new society was limited to ‘artist-painters’, sculptors, engrav- ers and a few art lovers. According to the new confraternity’s rules and regulations, the guildhall was to be decorated with the members’ own paintings. On 4 June 1701, the painter Jurriaan Pool presented the confraternity with a flower piece by his wife, Rachel Ruysch. Painters often gave a work on loan, but this painting was donated to Pictura, and a subsequent inventory of its possessions listed ‘an especially fine flower painting by Miss Rachel Ruysch’.1 Rachel Many of Rachel Ruysch’s clients were wealthy. The high prices she charged them enabled her to concentrate on only a few pieces a year, each of which took several months to complete.
    [Show full text]
  • Rembrandt Self Portraits
    Rembrandt Self Portraits Born to a family of millers in Leiden, Rembrandt left university at 14 to pursue a career as an artist. The decision turned out to be a good one since after serving his apprenticeship in Amsterdam he was singled out by Constantijn Huygens, the most influential patron in Holland. In 1634 he married Saskia van Uylenburgh. In 1649, following Saskia's death from tuberculosis, Hendrickje Stoffels entered Rembrandt's household and six years later they had a son. Rembrandt's success in his early years was as a portrait painter to the rich denizens of Amsterdam at a time when the city was being transformed from a small nondescript port into the The Night Watch 1642 economic capital of the world. His Rembrandt painted the large painting The Militia Company of Captain Frans Banning Cocq historical and religious paintings also between 1640 and 1642. This picture was called De Nachtwacht by the Dutch and The gave him wide acclaim. Night Watch by Sir Joshua Reynolds because by the 18th century the picture was so dimmed and defaced that it was almost indistinguishable, and it looked quite like a night scene. After it Despite being known as a portrait painter was cleaned, it was discovered to represent broad day—a party of musketeers stepping from a Rembrandt used his talent to push the gloomy courtyard into the blinding sunlight. boundaries of painting. This direction made him unpopular in the later years of The piece was commissioned for the new hall of the Kloveniersdoelen, the musketeer branch of his career as he shifted from being the the civic militia.
    [Show full text]
  • The Leiden Collection Catalogue, 3Rd Ed
    Govaert Flinck (Kleve 1615 – 1660 Amsterdam) How to cite Bakker, Piet. “Govaert Flinck” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/govaert- flinck/ (accessed September 27, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Govaert Flinck Page 2 of 8 Govaert Flinck was born in the German city of Kleve, not far from the Dutch city of Nijmegen, on 25 January 1615. His merchant father, Teunis Govaertsz Flinck, was clearly prosperous, because in 1625 he was appointed steward of Kleve, a position reserved for men of stature.[1] That Flinck would become a painter was not apparent in his early years; in fact, according to Arnold Houbraken, the odds were against his pursuit of that interest. Teunis considered such a career unseemly and apprenticed his son to a cloth merchant. Flinck, however, never stopped drawing, and a fortunate incident changed his fate. According to Houbraken, “Lambert Jacobsz, [a] Mennonite, or Baptist teacher of Leeuwarden in Friesland, came to preach in Kleve and visit his fellow believers in the area.”[2] Lambert Jacobsz (ca. 1598–1636) was also a famous Mennonite painter, and he persuaded Flinck’s father that the artist’s profession was a respectable one. Around 1629, Govaert accompanied Lambert to Leeuwarden to train as a painter.[3] In Lambert’s workshop Flinck met the slightly older Jacob Adriaensz Backer (1608–51), with whom he became lifelong friends.
    [Show full text]
  • 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.
    [Show full text]
  • * Diploma Lecture Series 2012 Absolutism to Enlightenment
    Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Jan van Huysum: the rise and strange demise of the baroque flower piece Richard Beresford 21 / 22 March 2012 Introduction: At his death in 1749 Jan van Huysum was celebrated as the greatest of all flower painters. His biographer Jan van Gool stated that Van Huysum had ‘soared beyond all his predecessors and out of sight’. The pastellist Jean-Etienne Liotard regarded him as having perfected the oil painter’s art. Such was contemporary appreciation of his works that it is thought he was the best paid of any painter in Europe in the 18th century. Van Huysum’s reputation, however, was soon to decline. The Van Eyckian perfection of his technique would be dismissed by a generation learning to appreciate the aesthetic of impressionism. His artistic standing was then blighted by the onset of modernist taste. The 1920s and 30s saw his works removed from public display in public galleries, including both the Rijksmuseum and the Mauritshuis. The critic Just Havelaar was not the only one who wanted to ‘sweep all that flowery rubbish into the garbage’. Echoes of the same sentiment survive even today. It was not until 2006 that the artist received his first serious re-evaluation in the form of a major retrospective exhibition. If we wish to appreciate Van Huysum it is no good looking at his work through the filter an early 20th-century aesthetic prejudice. The purpose of this lecture is to place the artist’s achievement in its true cultural and artistic context.
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Sotheby's Old Master & British Paintings Evening Sale London | 08 Jul 2015, 07:00 PM | L15033
    Sotheby's Old Master & British Paintings Evening Sale London | 08 Jul 2015, 07:00 PM | L15033 LOT 14 THE PROPERTY OF A LADY JACOB ISAACKSZ. VAN RUISDAEL HAARLEM 1628/9 - 1682 AMSTERDAM HILLY WOODED LANDSCAPE WITH A FALCONER AND A HORSEMAN signed in monogram lower right: JvR oil on canvas 101 by 127.5 cm.; 39 3/4 by 50 1/4 in. ESTIMATE 500,000-700,000 GBP PROVENANCE Lady Elisabeth Pringle, London, 1877; With Galerie Charles Sedelmeyer, Paris, 1898; Mrs. P. C. Handford, Chicago; Her sale, New York, American Art Association, 30 January 1902, lot 59; William B. Leeds, New York; His sale, London, Sotheby’s, 30 June 1965, lot 25; L. Greenwell; Anonymous sale ('The Property of a Private Collector'), New York, Sotheby’s, 7 June 1984, lot 76, for $517,000; Gerald and Linda Guterman, New York; Their sale, New York, Sotheby’s, 14 January 1988, lot 32; Anonymous sale New York, Sotheby’s, 2 June 1989, lot 16, for $297,000; With Verner Amell, London 1991; Acquired from the above by Hans P. Wertitsch, Vienna; Thence by family descent. EXHIBITED London, Royal Academy, Winter Exhibition, 1877, no. 25; New York, Minkskoff Cultural Centre, The Golden Ambience: Dutch Landscape Painting in the 17th Century, 1985, no. 10; Hamburg, Kunsthalle, Jacob van Ruisdael – Die Revolution der Landschaft, 18 January – 1 April 2002, and Haarlem, Frans Hals Museum, 27 April – 29 July 2002, no. 31; Vienna, Akademie der Bildenden Künste, on loan since 2010. LITERATURE C. Sedelmeyer, Catalogue of 300 paintings, Paris 1898, pp. 1967–68, no. 175, reproduced; C.
    [Show full text]
  • National Gallery of Art April 23, 1982 - October 31, 1982
    Note to Editors; The revised dates and itinerary for the exhibition Mauritshuis; Dutch Painting of the Golden Age from the Royal Picture Gallery, The Hague, are as follows: National Gallery of Art April 23, 1982 - October 31, 1982 Kimbell Art Museum, Fort Worth, Texas November 20, 1982 - January 30, 1983 The Art Institute of Chicago February 26, 1983 - May 29, 1983 Los Angeles County Museum of Art June 30, 1983 - September 11, 1983 \ i: w s 111; i, i« \ s i; STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 7374215 FOURTH extension 51: ADVANCE FACT SHEET Exhibition: Mauritshuis: Dutch Painting of the Golden Age from the Royal Picture Gallery, The Hague Dates: April 23, 1982 - September 6, 1982 Description: Forty outstanding examples of 17th-century Dutch painting from the Mauritshuis, the Royal Picture Gallery of The Netherlands, will begin a national tour which coincides with the bicentennial anniversary of Dutch-American diplomatic relations. Johannes Vermeer's Head of a Young Girl, Carl Fabritius' Goldfinch, Frans Hals' Laughing Boy and three masterworks by Rembrandt will be on view, as will paintings by Jan Steen, Jan van Goyen, Jacob van Ruisdael, Gerard ter Borch and other masters from this unsurpassed period of Dutch art. Itinerary: After opening at the National Gallery, the exhibition will travel to the Museum of Fine Arts, Boston (October 6, 1982 - January 30, 1983); the Art Institute of Chicago (February 26, 1983 - May 29, 1983); and the Los Angeles County Museum of Art (June 30, 1983 - September 11, 1983). Arthur K. Wheelock, Jr., Curator, Dutch Painting, and Dodge Thompson, Executive Curator, National Gallery of Art, worked on organizing the exhibition for the American tour.
    [Show full text]