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Tables and Indexes Table of technical reference material The following table lists available scientific reference listed as follows: material relating to paintings discussed in the pre­ sent volume. The data themselves are included in Amsterdam Central Research Laboratory the text of our catalogue entries. Other than for the The Hague Professor Dr W. Froentjes, as­ dendrochronological data (listed on pp. 865-866) sisted by Mr L. Kuiper, former and the thread-counts surveyed in Chapter II restorer at the Mauritshuis, (table B) of the Introduction, no effort has been and Mr W. Verschuren, chief made to give a survey of the individual information. assistant at the Forensic As a specification of scientific data obtained and Science Laboratory of the interpreted by different methods may easily yield Ministry of Justice, Rijswijk misleading results, only the existence and amount of (cf. De Vries, T6th-Ubbens, reference material are indicated, together with the Froentjes) places where it was examined and is currently kept. London National Gallery Research La­ As for the X-rays listed, most though not all are in boratory the museum's or owner's records as well as in our Los Angeles Los Angeles County Museum files, as originals, copy films or paper prints. X-Rays of Art of the whole or virtually whole area of paintings are Munich Doerner-Institut listed in a different column from those covering only New York The Metropolitan Museum of part of the painting. Neutron activation autoradio­ Art, Research Laboratory graphs have been taken only of paintings in the Oberlin Intermuseum Laboratory Metropolitan Museum, New York, and are kept Ottawa National Gallery of Canada, there; a selection of reduced prints is in our files. A Restoration Conservation La­ question mark indicates that the number of samples boratory taken and cross-sections prepared is unknown to us. Paris Laboratoire du Musee du The institutes where research was carried out are Louvre Support Ground and paint Photographic Remarks documents ..t:: 0.. ..t:: ro 0.. .... ro bfJ .... '"Q,) 0 bfJ 0., '"0 :.s 0 .9 ro '"'0 S .... ..t:: '"'u I ..t:: ;.... ro Q,) 0 0.. 0.. Q,) 0 ro '" I >< bfJ '"' '" ..... '" .... 0 ..t:: '"';:l 0 '"'..t:: bfJ '"'0 u '"0 0 Q,) "0 .... .'::.., '8 ....'" .....~ ro0- u 0 ro 0- u '"'0 0 Q,) .... Q,) 4... 4... '"'U bfJ ..t:: '".... .... .S'" ro 0 0.. ..t:: '"Q,) 0 0 Q,) 0 U .... ..t:: .... .... 0· .... "0 ;:l 0 U Q,) Q,) '"'Q,) 0"0 Q,) ~ .... '"ro .... ..0 ..0 .... ro .... "0 ;;. ro 0., ] .., .... Q,) ;:l 0 ro 0 0 S S s '"'.... Q,) .., <.l:: :> Q,) ro Q,) ;:l ;:l 0 ro "0 U '".... 0 0 U 0- Z ~ .S ~ A43 Portrait if Nicolaes Ruts, New * Munich I ? + + *mahogany panel York, Frick ColI. A44 Portrait if a man at a writing-desk, + + Leningrad A45 Portrait oj a man seated, Vienna, * + *walnut panel Kunsthistorisches Museum A46 The apostle Peter, Stockholm + + A47 The Rape if Europa, New York, private colI. A48 Man in oriental dress, New York + New York 4 4 + + A49 Young woman in profile, * + *no. I: I X-radiograph Stockholm available Copy I of no. A49, London, Nat. + Art Coll. Fund TABLE OF TECHNICAL REFERENCE MATERIAL Support Ground and paint Photographic Remarks documents ..c: ..c: 0. 0. ...<'<l ...<'<l <I,) b/) b/) '" c 0 p. '" .....0 .Q..... :a 0 s u <'<l ..c: ..c: <'<l <I,) ... C I 0. 0. ;>.. <I,) 0 <'<l b/) ..... .....'" '"I ~ .... '" ... ..... 0 ..c: :::l :: '" ..... ..c: b/) :: u .'::: .@ 0'" 0. 0 <I,) "0 ... ..... ... ....~ <'<l ..... u :: <'<l 0. u ..... ... 0 0 <I,) '" U b/) ..c: '"<I,) ... .s <'<l 0 ... ..c: ...<I,)'" ""'0 ""'0 .....<I,) c .... 0. 0 U ..c: ... II,) :::l U ... <I,) 0"0 "0 0 <I,) <I,) <:!:: <'<l ... .D p. ... <'<l ... ;;-'" <'<l .D ] ..... ... ... "0 II,) ..... :::l 0 <'<l S S S ... <I,) ..... ;> :: :: <'<l 4::: II,) <'<l '"<I,) :::l :::l 0 "0 U ... :: c U 0. Z ; .S ~ A50 Bust of a young woman, Boston, + Museum of Fine Arts A51 AnatoTTry Lesson, The Hague + The Hague 12 2 + + A52 Portrait of Marten Looten, Los + Angeles A53 Portrait of Joris de Caullery, San + + Francisco A54 Man trimming his quill, Kassel + Munich 3 1 + A55 Portrait of a young woman seated, + + Vienna, Akademie A56 Portrait of Jacques de Gheyn III, + London, Dulwich Picture Gallery AS7 Portrait of Maurits Huygens, + + Hamburg AS8 The artist as a burgher, Glasgow, + Burrell ColI. AS9 Portrait of a 40-year-old man, New + + York A60 Portrait of a young man, Sweden, + private colI. A61 Amalia of Solms, Paris, Musee Jacquemart-Andre A62 Portrait of a 39-year-old woman, + +* *IR-detail Nivaa A63 Portrait of a 62-year-old woman, Tel Aviv, private colI. A64 Young woman at her toilet, + Ottawa ? 1 + + Ottawa A65 Descent from the Cross, Munich * 1 ? + * Spanish cedar panel A66 Joseph telling his dreams, * + + *paper Amsterdam A67 Daniel and Cyrus before Bel, England, private colI. A68 Christ in the storm, Boston, + + Stewart Gardner Museum 860 TABLE OF TECHNICAL REFERENCE MATERIAL Support Ground and paint Photographic Remarks documents ..c: ..c: 0... 0... ...ro ...ro v'" bJJ bJJ '".: 0 P.. 0 ...0 ',:l :0 0 S u ro ..c: ro v ... .: 0... ..c: >. '" ':' I 0 ro 0... bJJ ...v ... ~ ..... '" ... ... 0 ..c: ;::! .: '" .....c: bJJ .: u ... .~ '"0 0... 0 v '0 ... ',:l ... .....~ ro ... u .: ro 0... u ... ... 0 0 v '" '- '- U bJJ ..c: '"v ... .S 0 0 ro 0 ... ..c: '"v... v .: ..... 0... 0 U ..c: ... ... ... "0 ;::! 0 U v v v 0"0 c:p ro ..0 (;l ... ro v ... '" ...ro ..0 P.. ... ... ... "0 :> v S S ',:l ;::! 0 ro .: .: ;::! ;::! S ... v ... <.l:: v ro v 0 ro >: "0 U ...'" .: .: U 0... Z ~ .S ~ A69 The Raising if the Cross, Munich + Munich I ? + A7° Bellona, New York + New York I I I I + + A 71 Self-portrait, Paris + + A72 Self-portrait in a cap, Paris + Paris I . I + A73 Bust if a man in oriental dress, + Munich I ? + Munich A74 Bust if an old man, Queenstown, * *paper coll. Houghton A75 Bust if a young woman, * Amsterdam 2 2 + *edges covered by Amsterdam enlargement panel A76 Bust if a young woman smiling, + Munich 5 I Dresden A77 Portrait if Jan Rijcksen and his + + wife, London, Buckingham Palace A78 Man rising from his chair, + Oberlin I I + Cincinnati, Taft Museum A79 Woman in an armchair, New York + New York 8 8 + + A80 Portrait if Johannes Wtenbogaert, + London * + *oral communication South Queensferry, colI. Earl of about structure of the Rosebery ground Copy I of no. A 80, Stockholm * + *no I: I X-radiograph available Copy 2 of no. A 80, formerly + Hoevelaken, coll. van Aalst A81 Portrait if a man (Krul?), Kassel + Munich 3 I + A82 Portrait if Maertgen van + + Bilderbeecq, Frankfurt A83 Portrait if a woman, New York + + A84 Portrait if a young woman, formerly Santa Barbara A85 Saskia, Kassel * Munich 4 ? + + *no dendrochronological measurement because of the extreme thinness of the panel 861 TABLE OF TECHNICAL REFERENCE MATERIAL Support Ground and paint Photographic Remarks documents ..c ..c 0.. 0.. C'd C'd en ... v en bD ... I::: 0 bD 0. .9 :0 ...0 S ... C'd ..c 0 C'd U ... ..c en V I I::: 0.. >- en 0 C'd 0.. bD v I ... ... en ~ .... '" ... ... 0 ..c ::l t:: en ... ..c bD I::: u .t; 0 0 v "0 s-. .";:; s-. ....~ C'd0.. ... u I::: C'd ... 0.. U ... 0 en 0 ... s-. V '" 4-< 4-< U bD ..c v .S 0 0 C'd 0 0.. ... ..c '"v Q; 1::: .... 0 U s-. ..c ... s-. ... "0 ::l 0 en U V V V 0"0 v c:t: ... C'd ... ..0 ..0 "; s-. C'd C'd 0. ... ... ... "0 > v '0 ::l 0 C'd t:: I::: en S S S ... v'" <!::: :> v C'd v ;:i ::l 0 C'd I::: "0 u ... I::: t:: u 0.. Z ~ .... ::j A86 Portrait of a 41-year-old man, + Pasadena A87 Portrait of a 4fJ-year-old woman, + Louisville A88 The Holy Family, Munich + I + A8g Ecce homo, London * London 4 2 + +0 *paper °IR detail signature Ago The incredulity of Thomas, + + +* * partial Moscow AgI Cupid blowing a bubble, Ascona, + + colI. Baroness Bentinck-Thyssen Ag2 Diana with Actaeon and Callisto, + + Anholt, Museum Wasserburg Ag3 Flora, Leningrad + +* *not in RRP files A94 Sophonisba, Madrid A95 A scholar, Prague * + *no I: I X-radiograph available Ag6 Self-portrait in cap and fur-trimmed + + cloak, Berlin A97 Self-portrait with helmet, Kassel * Munich 5 ? + + *mahogany panel Ag8 Portrait of Johannes Elison, + + Boston, Museum of Fine Arts Agg Portrait of Maria Bockenolle, + + Boston, Museum of Fine Arts A IOO Portrait of Marten Soolmans, Paris, private colI. A 101 Portrait of Oopjen Coppit, Paris, private colI. A I02 Portrait of Dirck Jansz. Pesser, * + *edges covered by Los Angeles enlargement panel A 103 Portrait of Haesje van Cleyburg, * + *edges covered by Amsterdam enlargement panel A 104 Portrait of an 83-year-old woman, London 6 3 + London TABLE OF TECHNICAL REFERENCE MATERIAL Support Ground and paint Photographic Remarks documents .J:: .J:: 0- 0- ~ ~ ~ bIl ~ '"Q,) bIl '"c:: 0 ...0 -a .9 :a 0 s ... ~ .J:: .J:: ~ u ~ Q,) I c:: 0- 0- ~ >- Q,) 0 bIl .....'" I ~ ~ ... 0 ..... '" 'p~ bIl c:: .J:: ;::s c:: Q,) u .~ '" 0 0 ~ .~ '"0 ~ 0- ..... u ..... ~ .... «l 0 c:: «l 0- u ..... ~ Q,) 0 Q,) .J:: '" U bIl ~ ~ '" '- Q,) .s '- «l 0 0- 0 .J:: 0 0 Q,) '"~ c:: .... ;::s U .J:: ~ ~ ..... "0 0 U Q,) Q,) Q,) 0"0 Q,) ct:: ~ ~ ~ «l '"«l ..c ] ~ ~ "0 «l ..c -a ... «l :> Q,) ... ;::s 0 c:: c:: S S S ~ Q,)'" Q,) ;::s r..!:: > «l '"Q,) ;::s 0 «l "0 U ~ c:: c:: U 0- Z ~ .s :::i B 8 Half-length figure of a man in + + + + oriental dress, Washington C45 Bathsheba, Rennes +* *not in RRP files C46 Adoration of the Magi, Leningrad * + *paper Copy I of no.
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    Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525

    Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh.
  • Mary Magdalene in Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida

    Mary Magdalene in Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida

    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 5-20-2004 Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Lambert-Monteleon, Michelle, "Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images" (2004). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1124 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images by Michelle Lambert-Monteleon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and American Studies College of Arts and Sciences University of South Florida Major Professor: Naomi Yavneh, Ph.D. Mario Ortiz, Ph.D. Ruth Banes, Ph.D. Date of Approval: May 20, 2004 Keywords: magdalen, women, art, gender, sexuality © Copyright 2004 , Michelle Lambert-Monteleon Acknowledgments I would like to thank the entire Humanities department at USF for inspiring me as an undergraduate and graduate student to pursue my dream of becoming a professor of the humanities. Special thanks to Drs. Helena Szépe and Mario Ortiz for helping me to achieve my goal without any prior knowledge of my abilities. Your dedication is laudable. Dr. Ruth Banes, thank you for your guidance and for keeping me on the right track throughout my journey.