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L1013 Wolf, Goya's Red Boy, 144-173, FINALFINAL
REVA WOLF Goya’s “Red Boy” The Making of a Celebrity R W Reva Wolf came to study with Jonathan Brown when, as a student in his seminar on Francisco Goya, she discovered the topic of her Ph.D. dissertation. Brown served as co-advisor with Robert Rosenblum for the dissertation, entitled “Francisco Goya and the Interest in British Art and Aesthetics in Late Eighteenth-Century Spain”, which Wolf defended in . Growing directly out of this Ph.D. work was Wolf’s book and exhibition, Goya and the Satirical Print (). She also wrote one of her two Master’s degree qualifying papers, The Hall of Battles at El Escorial, under Brown’s guidance. Her first professional writing assignment, the essay “Onlooker, Witness and Judge in Goya’s Disasters of War,” for the catalogue of the exhibition Fatal Consequences: Callot, Goya, and the Horrors of War (), was due to Brown’s recommendation. Wolf has n , Harry B. Wehle, a curator at the Metropolitan Museum of Art in New contributed several catalogue entries to the forthcoming publication IYork, proclaimed that Francisco Goya’s portrait of Don Manuel Osorio de accompanying an exhibition of Spanish drawings at The Frick Collection for Zúñiga (fig. ) “is so popular among American art lovers as to require no com- which Brown is co-curator ( ). ment.” Indeed, Goya’s painting of the strikingly delicate young boy had enjoyed Wolf holds the position of Professor of Art History at the State University of an enthusiastic audience since shortly after its arrival in the United States nearly New York at New Paltz. -
Van Dyck: the Anatomy of Portraiture,” on View at the Frick Collection Until June 5, Opportunities to Consider These Questions Abound
TheVan Anatomy Dyck Of Portraiture By James D. Balestrieri NEW YORK CITY — A great portrait is a balancing act between capturing likeness and revealing inner character, between fidelity to appearance — verisimilitude — and exposing the sitter’s inner light to the light of day: the eyes of beholders, viewers, us. But in great portraiture there is another requisite element: mystery. The portraitist must hint at something else, something other, something that shimmers at the surface — often in the eyes, mouth or hands of the sitter — a moment that passed, perhaps, between the artist and the sitter, a secret we suspect but can never fully be in on. “Cardinal Guido Bentivoglio,” 1623, oil on canvas. Galleria Palatina, Palazzo Pitti, Florence, Italy. How can we know when a portrait has this quality? The simplest answer is that when a portrait moves us to try to bore into it, to decode its subject, the sitter, time and again, that mystery is present. But there is a more scientific method. If collectors and cultural institutions, over a lengthy period, single out, vie for and prize portraits of people they could never have known, people they have no relation to, people whose names may well be lost or mean little to history, then we may be sure that the artist has captured lightning in a bottle. When this is evident, as in the case of Flemish painter Anthony van Dyck (1599–1641), new questions emerge about the production and consumption of portraits, and about their place and meaning in disparate cultures over time. With more than 100 of the artist’s works in the exhibition “Van Dyck: The Anatomy of Portraiture,” on view at the Frick Collection until June 5, opportunities to consider these questions abound. -
7 Concluding Observations
UvA-DARE (Digital Academic Repository) Jan Davidsz. de Heem 1606-1684 Meijer, F.G. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Meijer, F. G. (2016). Jan Davidsz. de Heem 1606-1684. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 7 Concluding observations Life Jan Davidsz. de Heem’s biography had been rather well researched, but it has turned out that a fresh look at archival documents could yield some new information, or new interpretation of some known data, the most important being the discovery of the artist’s probable burial date, 10th February 1684, which leads to a death date in the previous week, plausibly between 4 and 9 February 1684, at the age of 77. -
Titel Der Magisterarbeit
DIPLOMARBEIT Titel der Diplomarbeit „Der Vesuvausbruch als Bildsujet und die Emanzipation des Blicks in der Landschaftsmalerei vom Barock bis in die Romantik“ verfasst von Angelika Steinwidder angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Univ.-Doz. HR Dr. Werner Kitlitschka 1 2 Danksagung Ein Herzliches Dankeschön möchte ich an dieser Stelle all jenen aussprechen, die mir Raum, Zeit, viel Mut und Hilfe für diese Arbeit geschenkt haben! Im Besonderen danke ich Angelo, meinen Eltern Hermine und Alfred, meinen Geschwistern Christina, Thomas, Elisabeth und Philipp, meiner Oma Josefine, meiner Tante Gerti und vor allem meinen Freunden Franziska und Ilse, Johannes, Liesi und Sabrina, Kate, Laura, Luisa, Donatella, Renate, Goran, Natasa, Sully, Emma, Ute, Flora und Helmut für ihre einzigartige Unterstützung. Bei Søren Grammel bedanke ich mich für die Einladung zur Ausstellungseröffnung ATTITUDE AND CANON in der Akademie der bildenden Künste Wien. Matts Leiderstam bin ich für sein großzügiges Entgegenkommen verbunden: Sein Paket aus Finnland mit Ausstellungskatalogen zur Serie der Grand Tour war sehr anregend. Bedanken möchte ich mich auch bei Herrn Fabio Speranza, Archivar im Museo della Certosa di San Martino, für die aufschlussreiche Führung durch die Sammlung, Frau Mag. Claudia Koch, Kuratorin der Gemäldegalerie der Akademie der bildenden Künste Wien, für hilfreiche Hinweise, Herrn Norbert Nabernik für die Betreuung in der Kupferstichsammlung sowie Lucy Salt vom Derby Museum and Art Gallery für die Zusendung von Bildmaterial. Abschließend danke ich ganz herzlich Herrn Univ.-Doz. HR. Dr. Werner Kitlitschka für die besonders verständnisvolle und geduldige Betreuung sowie die kompetente inhaltliche Unterstützung! 3 4 VORWORT Analog mit der Neueröffnung der Galerie der Akademie der bildenden Künste Wien im Herbst 2010 eröffnete auch xhibit die neuen Ausstellungsräume der Akademie mit der Ausstellung Attitude and Canon1. -
Hessisches Landesmuseum, Darmstadt
Botticelli Reimagined V&A Museum, 5 March – 3 July 2016 Lender Reference number: Hessisches Landesmuseum, Darmstadt (8767) Title: Birth of Venus Date of creation: 1868-9 Place of creation: Basel, Switzerland Artist/ Designer: Arnold Böcklin (1827-1901) Dimensions: 1355 x 790 mm Nationality of Artist: Swiss Materials/ medium: Oil on canvas Brief physical description (including identifying marks and inscriptions): Female figure, representing Venus, emerges from the foam of the sea. A veil held by two putti is gathered in the hand of the female figure to cover her from the waist down. Lender (name and address): Hessisches Landesmuseum Darmstadt Friedenspl. 1 64283 Darmstadt Germany Provenance: 1898 Maximilian Freiherr von Heyl, in Darmstadt; various owners; Sigmund Buchenau, Niendorf/Lubeck; 1938 Karl Haberstock, Berlin; ‘Führermuseum’, Linz; acquired by The Federal Republic of Germany; since 1968 on permanent loan to Hessisches Landesmuseum in Darmstadt Ownership between 1933-1945: Collection of Sigmund Buchenau; from 1938 in the collection of Karl Haberstock; the ‘Führermuseum’, Linz Art Gallery Object registered on Art Loss Register?: Not checked Image of Object: Lender Reference number: Hessisches Landesmuseum, Darmstadt (AE.1285) Title: The Devout Jews at Pentecost Date of creation: 1500s Place of creation: Italy Artist/ Designer: Sandro Botticelli (c.1445-1510) Dimensions: 231 x 365 mm Nationality of Artist: Italian (Florentine) Materials/ medium: Black chalk, pen and brown ink, brown wash with white gouache, on paper Brief physical description (including identifying marks and inscriptions): This drawing depicts eight figures (seven above and one below) gathered around a central door. It is believed to record the missing lower half of a painting titled Pentecost now in the collection of the Birmingham Museums Trust. -
Valeur, Fascinatie En Verheffing: Exotische Dieren in Zeventiende-Eeuwse Stillevens Uit De Zuidelijke Nederlanden
Valeur, fascinatie en verheffing: Exotische dieren in zeventiende-eeuwse stillevens uit de Zuidelijke Nederlanden Bachelorscriptie Kunstgeschiedenis Daphne Martens 1 Valeur, fascinatie en verheffing: Exotische dieren in zeventiende-eeuwse stillevens uit de Zuidelijke Nederlanden Daphne Martens (6189474) Bachelorscriptie Kunstgeschiedenis, Universiteit Utrecht Begeleider: Dr. Annemieke Hoogenboom Tweede lezer: Dr. Martine Meuwese 15.045 woorden 30 april 2021 Voorblad: Detail van Peeter Boel, Stilleven met kaketoe en hondje, 1650-1670, olieverf op doek, 130 x 168 cm., Akademie der bildenden Künste Wien, Wenen, inv.nr. 757 (Foto: Akademie der bildenden Künste Wien, http://www.akademiegalerie.at/media/documents/Pieter_Boel_Stillleben_mit_Globus_ Prunkgarnitur_und_Kakadu_(c)_Gem%C3%A4ldegalerie_der_Akademie_der_bildenden_K%C3%BCnst e_Wien.jpg, geraadpleegd 12-04-2021). 2 Samenvatting Exotische vogels en zoogdieren zijn in de zeventiende eeuw vaak afgebeeld in Zuid-Nederlandse stillevens. Dit fenomeen is tot op heden niet diepgaand onderzocht. Deze scriptie biedt een verkenning van dit onderwerp naar aanleiding van de onderzoeksvraag: Wat was de functie van exotische dieren in stillevens binnen de sociaal-culturele context van de Zuidelijke Nederlanden in de zeventiende eeuw? Middels een kwantitatieve analyse op basis van de RKDimages-database wordt een beeld geschetst van de ontwikkeling van dergelijke stillevens tussen 1550 en 1700. Deze bevindingen worden aan de hand van secundaire literatuur gerelateerd aan zowel de omgang met exotische dieren als het gebruik van stillevens in de Zuidelijke Nederlanden. Aan de basis van dit onderzoek ligt namelijk de notie, dat de context waarin kunst werd gemaakt en gebruikt bepalend was voor de betekenis ervan. De niet-Europese dieren kregen door hun gebruik en representatie in kunst een nieuwe betekenis binnen de Europese sociale, culturele en politieke context. -
Goya in the Metropolitan Museum Ofart / Colta Ives and Susan Alyson Stein
Coya in The Metropolitan Museum ifArt { { . Coya in The Metropolitan Museum ifArt Colta Ives and Susan Alyson Stein THE METROPOLITAN MUSEUM OF ART NEW YORK This publication is issued in conjunction with an exhibition held at The Metropolitan Museum ofArt, NewYork, September I2-December 3I, 1995 The exhibition is made possible by QOYAFOODS Published by The Metropolitan Museum ofArt, New York Copyright © 1995 by The Metropolitan Museum ofArt, New York All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publishers. John P. O'Neill, Editor in Chief Barbara Burn, Executive Editor Margaret Aspinwall, Editor Tsang Seymour Design Studio, Designer Matthew Pimm and Rich Bonk, Production Robert Weisberg, Computer Specialist All photographs are by the Photograph Studio, The Metropolitan Museum ofArt, except figs. ro, 32, and 42, which were supplied by the owners ofthe paintings. Printed by Meridian Printing Company, East Greenwich, Rhode Island Cover: Detail of Don Manuel Osorio Manrique de Zuniga (see fig. I). The Jules Bache Collection, 1949 (49.7.41) Frontispiece: Self-Portrait, ca. 1795-1800. Brush and gray wash; 152 x 91 mm. Harris Brisbane Dick Fund, 1935 (35.ro3.1) Library ofCongress Cataloging-in-Publication Data Metropolitan Museum ofArt (NewYork, N.Y) Goya in the Metropolitan Museum ofArt / Colta Ives and Susan Alyson Stein. p. cm. Exhibition held at the Metropolitan Museum ofArt, New York, September 12-December 31, 1995. Includes bibliographical references. ISBN 0-87099-752-1 (alk. -
)\~Staurant Antoin~
Souv~nir DU )\~staurant Antoin~ :. t i '.. FONDE E~ 1840 ROY L. ALCIATORE, PROPRIETOR 713-717 ST. LOUIS STREET NEW ORLEANS. LA. .,. ANTOINE'S RESTAURANT Roy L. A1ciatore, Proprietor - 713-717 St. Louis S,treet, Between Royal and Bourbon Streets, New Orleans, La. - Established 1840. 3 MAIN ENTRANCE ANTOINE'S RESTAURANT Established in 1840 • ROY LEWIS ALCIATORE Proprietor of Antoine's Restaurant. Grandson of Antoine Alciatore, founder. 5 Antoine Alciatore Jules Alciatore Founder - 1840 to 1885. Proprietor - 1885 to 1930. Founder of the house of Antoine, who Jules, a fit successor to his.illustrious seeking his fortune in America came to father, took charge of "Les affaires" New Orleans and founded in the year and since he too made his studies in 1840 the Restaurant Antoine. Beginning the land of his father, the house of An in a small way, it was not long before tone again prospered under his guiding Antoine's was a byword for all that hand, and today, it enjoys an inte.rna left the business in the tiona! reputation wherever stands highest in the culi people, gather to discuss nary line. His talents won the gentle art of eating in for him an enviable repu its many and divers forms. tation and the little res Jules, before his death taurant flourished. Antoine placed the active manage went back to i France his ment of the restaurant in native land to die, and he the hands of his son Roy. hands of his son Jules . • Roy Alciatore Present Proprietor - 1930 to --. Roy, grandson of Antoine Alciatore, and present proprietor, was born and reared in. -
Télécharger Neptunia
— — — — — — — — SOMMAIRE Avant propos, par le Capitaine de Corvette Vichot . 1 Sur l'exposition "Vieille Marine", par La Varende . 2 Adrien Manglard (16951760), par Mlle Jacqueline Loyer . 6 Les "Ports de France" de Garneray, par M. Gustave Alaux, Membre de l'Académie de Marine . 8 L'Histoire de la Marine à travers les vignettes d'archives, par M. Jean Denizet, Chef du Service des Archives et Biblio thèques de la Marine . 13 Les Uniformes de la Marine, par M. le Commissaire Général de la Marine P. Jullien. 15 Reliques de Lapérouse, par le lieute nant de Vaisseau de Renusson d'Hauteville . 19 Vieux livres de voyage, Anciens Traités de construction navale par J.V. 20 Sur les Pontons (18031814), par M. P. Bohé, Professeur en chef de la Marine Marchande . 21 Imagerie Maritime, par M. Emile Condroyer . 24 — — — — AVANTPROPOS NZE mois d’une laborieuse et brillante renaissance et l'Association des Amis du Musée de la Marine, sans désemparer, décide l’organisation d’une exposition « Vieille Marine » qui groupera objets d’art, instruments, sou venirs ou curiosités du folklore maritime, antérieurs à 1870. Le but de cette manifestation est double. Le premier, celui qui figure en tête des statuts de l’Association : accroître le rayonnement du Musée de la Marine et favoriser ainsi la propagande maritime dans le Pays. Le second : faire connaître les objets d’art et documents anciens dispersés dans des collec tions privées ou officielles et enrichir ainsi notre documentation iconographique maritime. Peu de finances, mais nombre de bonnes volontés, de l’enthousiasme et déjà l’on peut affirmer que l’un et l’autre buts sont atteints. -
Architectural Temperance: Spain and Rome, 1700-1759
Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research. -
R. G. Wanek Center Art Collection President's Club
R. G. Wanek Center Art Collection President’s Club Contents A King from the Adoration of the Magi: A Fragment by Alessandro Gherardini ...... 3 The Lake by George W. Johnstone ................................................................................ 4 Evening on the Trent by Henry Kinnaird ..................................................................... 5 Shipping Off a Rocky Coast by Adrien Manglard ......................................................... 6 Fishing at the Lake by Joseph Thors .............................................................................. 7 Woodcutters Sherwood Forest by Joseph Thors ........................................................... 8 Home on the Lake by Alfred Vickers, Sr. ...................................................................... 9 Fisherman on the Banks of a Loch by Gottlieb Daniel Paul Weber .......................... 10 Southern Landscape with a Castle by Richard Wilson ............................................... 11 1 Girl Pausing by Shady Brook by Edward Charles Williams....................................... 12 Chess set of the Gods (unknown) ................................................................................. 13 Portrait of a Gentleman (undetermined) ..................................................................... 14 Portrait of President Robert M. Andrews, D. D.......................................................... 15 Portrait of President Dennis H. Cooke, Ph.D ............................................................. 16 Portrait -
Lowell Libson
LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD · 2014 New York: January 25 – February 1 Annual exhibition at Mitchell-Innes & Nash: British Art: Recent Acquisitions & Thomas Gainsborough: The Landscape of Refinement london: february 17 – february 28 Thomas Gainsborough: The Landscape of Refinement Maastricht: March 14 – 23 TEFAF: The European Fine Art Fair London: July 4 – July 11 Master Drawings & Sculpture Week London Art Week London: October 16 – october 19 Frieze Masters LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD CONTENTS 3 Clifford Street · Londonw1s 2lf William John Bankes 8 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 James Barry 12 Email: [email protected] Louis-Gabriel Blanchet 15 Website: www.lowell-libson.com The gallery is open by appointment, Monday to Friday Francis Cotes 20 The entrance is in Old Burlington Street Alexander Cozens 24 Lowell Libson John Robert Cozens 26 [email protected] Arthur Devis 34 Deborah Greenhalgh [email protected] John Flaxman 39 Jonny Yarker [email protected] Lucius Gahagan 46 Daniel Gardner 50 Hugh Douglas Hamilton 52 Victor-Marie Hugo 58 Sir Thomas Lawrence 60 Edward Lear 68 William Marlow 72 Samuel Palmer 76 Published by Lowell Libson Limited 2014 Sir Joshua Reynolds 78 Text and publication © Lowell Libson Limited All rights reserved Thomas Rowlandson 82 isbn 978 0 9563930 7 4 Cover: a sheet of 18th-century Italian Thomas Stothard 82 paste paper (collection: Lowell Libson) Frontispiece: Francis Cotes RA 1726–1770 Joseph Mallord William Turner 89 Detail from Mary Colebrooke, later Lady Aubrey, 1766 Benjamin West 102 Photography by Rodney Todd White & Son Ltd Designed and typeset in Dante by Dalrymple Joseph Wright of Derby 105 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Johan Zoffany 112 our annual catalogue relies entirely on the works we have in hand and it is this serendipity that gives each of these volumes an individual character.