The Sick Child, Eugene Carrière, 1885
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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
The Marriage Contract in Fine Art
The Marriage Contract in Fine Art BENJAMIN A. TEMPLIN* I. INTRODUCTION ................................................................................ 45 II. THE ARTIST'S INTERPRETATION OF LAW ...................................... 52 III. THE ARNOLFINI MARRIAGE: CLANDESTINE MARRIAGE CEREMONY OR BETROTHAL CONTRACT? .............................. ........................ .. 59 IV. PRE-CONTRACTUAL SEX AND THE LAWYER AS PROBLEM SOLVER... 69 V. DOWRIES: FOR LOVE OR MONEY? ........................ ................ .. .. 77 VI. WILLIAM HOGARTH: SATIRIC INDICTMENT OF ARRANGED MARRIAGES ...................................................................................... 86 VII. GREUZE: THE CIVIL MARRIAGE CONTRACT .................................. 93 VIII.NINETEENTH AND TWENTIETH CENTURY COMPARISONS ................ 104 LX . C ONCLUSION ..................................................................................... 106 I. INTRODUCTION From the Middle Ages to the Enlightenment, several European and English artists produced paintings depicting the formation of a marriage contract.' The artwork usually portrays a couple-sometimes in love, some- * Associate Professor, Thomas Jefferson School of Law. For their valuable assis- tance, the author wishes to thank Susan Tiefenbrun, Chris Rideout, Kathryn Sampson, Carol Bast, Whitney Drechsler, Ellen Waldman, David Fortner, Sandy Contreas, Jane Larrington, Julie Kulas, Kara Shacket, and Dessa Kirk. The author also thanks the organizers of the Legal Writing Institute's 2008 Summer Writing Workshop -
Biases in Generative Art— a Causal Look from the Lens of Art History
Biases in Generative Art— A Causal Look from the Lens of Art History Ramya Srinivasan Kanji Uchino Fujitsu Laboratories of America Fujitsu Laboratories of America ABSTRACT With the rapid advancement of deep learning, there has been With rapid progress in artificial intelligence (AI), popularity of remarkable progress in AI based generative art. From creating hy- generative art has grown substantially. From creating paintings to brid images using attributes from multiple images to generating generating novel art styles, AI based generative art has showcased a cartoons from portraits, AI based generative art has exemplified variety of applications. However, there has been little focus concern- new and diverse applications [3, 25, 26, 45]. ing the ethical impacts of AI based generative art. In this work, we As a consequence, AI based generative art has become extremely investigate biases in the generative art AI pipeline right from those popular. In 2019, “Sotheby" auction house sold an AI generated art that can originate due to improper problem formulation to those work for 32000 pounds [55]. A little earlier in 2018, the auction related to algorithm design. Viewing from the lens of art history, we house “Christies" sold an AI generated art work for a staggering discuss the socio-cultural impacts of these biases. Leveraging causal 432500 USD [15]. Institutions have also shown an increased interest models, we highlight how current methods fall short in modeling towards AI based generative art as evidenced by the number of the process of art creation and thus contribute to various types of museum shows [7, 24]. There are also several apps and tools such as biases. -
The Image and Identity of the Alchemist in Seventeenth-Century
THE IMAGE AND IDENTITY OF THE ALCHEMIST IN SEVENTEENTH-CENTURY NETHERLANDISH ART Dana Kelly-Ann Rehn Dissertation submitted in partial fulfillment of the coursework requirements for the degree of Master of Arts (Studies in Art History) School of History and Politics University of Adelaide July 2011 TABLE OF CONTENTS TITLE PAGE i TABLE OF CONTENTS ii LIST OF ILLUSTRATIONS iii DECLARATION v ABSTRACT vi ACKNOWLEDGEMENTS vii 1 INTRODUCTION 1 2 ALCHEMY: A CONTROVERSIAL PROFESSION, PAST AND PRESENT 7 3 FOOLS AND CHARLATANS 36 4 THE SCHOLAR 68 5 CONCLUSION 95 BIBLIOGRAPHY 103 CATALOGUE 115 ii LIST OF ILLUSTRATIONS FIGURE 1 Philip Galle (After Pieter Bruegel the Elder), The Alchemist, c.1558 118 FIGURE 2 Adriaen van de Venne, Rijcke-armoede („Rich poverty‟), 1636 119 FIGURE 3 Adriaen van Ostade, Alchemist, 1661 120 FIGURE 4 Cornelis Bega, The Alchemist, 1663 121 FIGURE 5 David Teniers the Younger, The Alchemist, 1649 122 FIGURE 6 David Teniers the Younger, Tavern Scene, 1658 123 FIGURE 7 David Teniers the Younger, Tavern Scene, Detail, 1658 124 FIGURE 8 Jan Steen, The Alchemist, c.1668 125 FIGURE 9 Jan Steen, Title Unknown, 1668 126 FIGURE 10 Hendrik Heerschop, The Alchemist, 1671 128 FIGURE 11 Hendrik Heerschop, The Alchemist's Experiment Takes Fire, 1687 129 FIGURE 12 Frans van Mieris the Elder, An Alchemist and His Assistant in a Workshop, c.1655 130 FIGURE 13 Thomas Wijck, The Alchemist, c.1650 131 FIGURE 14 Pierre François Basan, 1800s, after David Teniers the Younger, Le Plaisir des Fous („The Pleasure of Fools‟), 1610-1690 132 FIGURE 15 -
Edvard Munch
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1972 Edvard Munch: Motifs and Motivations Gordon Moffett Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Moffett, Gordon, "Edvard Munch: Motifs and Motivations" (1972). Masters Theses. 3848. https://thekeep.eiu.edu/theses/3848 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ----- Date Author EDVARD MUNCH: MOTIFS AND MOTIVATIONS (TITLE) BY Gordon Moffett _,.- THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS .---:_.··-- . -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Giuseppe Arcimboldo's Grilli: Humor and Magic in Genre Portraits
Cultural and Religious Studies, February 2019, Vol. 7, No. 2, 57-76 doi: 10.17265/2328-2177/2019.02.001 D DAVID PUBLISHING Giuseppe Arcimboldo’s Grilli: Humor and Magic in Genre Portraits Liana De Girolami Cheney Universidad de Coruña, Spain This essay examines one aspect of Giuseppe Arcimboldo’s portraiture: His genre depictions where he expands the art of illusionism or magic visualization into grilli (intellectual whims) and teste composte (composite heads). These images of reversible portraits of genre scenes, caricatural conceits, and visual puns are seen in The Cook or The Chef reversed as The Bowl of Meats of 1570 at the Nationalmuseum, Stockholm; The Vegetable Gardener reversed as The Bowl of Vegetables of 1590 at the Museo Civico “Ala Ponzone”, Cremona; and Il Frutaio, The Fruit Vendor reversed as The Basket of Fruits of 1591, at the French & Company Gallery in New York. In his imagery, Arcimboldo focuses on the paradoxical meaning of objects, “what if?” adding a sense of ambiguity and mystery to his art. Is Arcimboldo teasing the viewer with a Mannerist flare, or is he composing or implying another type of intellectual conceit? Ultimately, Arcimboldo invents a new type of genre: the emblematic humorous portrait. Keywords: composite heads, grilli, humor, delight, innuendo, symbolism, mannerism, Milan, School of Prague, art theory, grotesque The Mannerist painter Giuseppe Arcimboldo (1527-1593) was born in Milan in 1527, the son of artist Biagio Arcimboldo and Chiara Parisi (Kaufmann, 1976; Zeri, 2001/1998; Kaufmann, 2010; Cheney, 2008/2013/2015; Baltrusaïtis, 1987; Ferino-Pagden, 2007; Ferino-Pagden, 2018; Geiger, 1954).1 He died on July 11, 1593, in his native city (see Figures 1, 2, and 3). -
National Gallery of Art Fall10 Film Washington, DC Landover, MD 20785
4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART FALL10 FILM Washington, DC Landover, MD 20785 FIGURES IN A STRAUB AND LANDSCAPE: JULIEN HUILLET: THE NATURE AND DUVIVIER: WORK AND HARUN NARRATIVE THE GRAND REACHES OF FAROCKI: IN NORWAY ARTISAN CREATION ESSAYS When Angels Fall Manhattan cover calendar page calendar (Harun Farocki), page four page three page two page one Still of performance duo ZsaZa (Karolina Karwan) When Angels Fall (Henryk Kucharski) A Tale of HarvestA Tale The Last Command (Photofest), Force of Evil Details from FALL10 Images of the World and the Inscription of War (Henryk Kucharski), (Photofest) La Bandera (Norwegian Institute) Film Images of the (Photofest) (Photofest) Force of Evil World and the Inscription of War (Photofest), Tales of (Harun Farocki), Iris Barry and American Modernism Andrew Simpson on piano Sunday November 7 at 4:00 Art Films and Events Barry, founder of the film department at the Museum of Modern Art , was instrumental in first focusing the attention of American audiences on film as an art form. Born in Britain, she was also one of the first female film critics David Hockney: A Bigger Picture and a founder of the London Film Society. This program, part of the Gallery’s Washington premiere American Modernism symposium, re-creates one of the events that Barry Director Bruno Wollheim in person staged at the Wadsworth Athenaeum in Hartford in the 1930s. The program Saturday October 2 at 2:00 includes avant-garde shorts by Walter Ruttmann, Ivor Montagu, Viking Eggeling, Hans Richter, Charles Sheeler, and a Silly Symphony by Walt Disney. -
PROGRAMME NOTES MUNCH a Note from Executive Producer Had Firmly Placed the Scream Into Place As Just One of Phil Grabsky Dozens of Wonderful Works
PROGRAMME NOTES MUNCH A note from Executive Producer had firmly placed The Scream into place as just one of Phil Grabsky dozens of wonderful works. I hope you’ll do the same. EXHIBITION ON SCREEN has always looked internationally for the best exhibitions and the best SCREEN ON Gallery EXHIBITION © National Oslo is Filming Munch, EOS stories. When I heard that a genuine ‘once-in-a-lifetime’ show of Edvard Munch’s works was to be held in Oslo to mark his 150th birthday, I knew this was something we had to cover. The exhibition would display over 200 artworks across two galleries: Oslo’s Munch Museum and National Gallery. This may never happen again. Munch is, of course, best known for The Scream (of which he painted 4 versions) but there is so much more to his oeuvre and, whisper it under your breathe, plenty of it, in my opinion, is superior to The Scream. But if you want to understand just that one painting then the show – and now the film – are great because you’ll see the reconstructed room (from the original Berlin show he put on) of The Frieze of Life, in which The Scream was just a part. That’s why I enjoy making these films so much: one learns about the background, the reasons why paintings or sculptures were created. For me, that knowledge simply adds to my appreciation and enjoyment of the work. We also had the opportunity to learn much more about this famous Norwegian artist – and it’s a fascinating and somewhat odd tale. -
ART CLASSIFICATION SCHEME a Art Reference, Museology And
ART CLASSIFICATION SCHEME A Art Reference, museology and curatorship, art historiography B Philosophy and psychology of art, genre, art in society C Art historical surveys D Prehistoric and primitive art E Ancient orient and oriental art F Classical art H Medieval art K Renaissance, Baroque and Rococo art M Modern art P Applied and performing arts Q Film and Television R Photography T Techniques: materials and methods A Art Reference, art historiography, museology and curatorship 1 Bibliographies 2 Reference 2.5 Biographical dictionaries 4 Collection catalogues 4.5 Britain 4.51 London, A-Z by museum 4.55 other British towns, A-Z by town 4.6 Europe 4.61 Italy, A-Z by town 4.62 France, A-Z by town 4.63 Spain & Portugal, A-Z by town 4.64 Germany & Austria, A-Z by town 4.65 Low Countries, A-Z by town 4.66 Scandinavia, A-Z by town 4.67 Russia, A-Z by town 4.68 Central Europe, A-Z by town 4.69 the Balkans, A-Z by town 4.7 Americas 4.71 United States, A-Z by town 4.72 Canada, A-Z by town 4.73 Mexico & the West Indies, A-Z 4.74 South America, A-Z by town 4.8 other continents 4.81 Asia & the Pacific, A-Z by town 4.82 Australia & N.Z., A-Z by town 4.84 Africa, A-Z by town 4.9 Exhibitions: history, museums and galleries, audiences, curating, museology 4.95 Sales catalogues/prices, the art market, collecting, economics of art, art theft, provenance 5 General texts [nothing classified at this level] 6 Miscellanies, festschriften 7 Texts on special topics [nothing classified at this level] 8 History & theory of the study of art, study guides, art education, art writing, ‘the artist’, art research, practice B Philosophy and psychology of art [nothing classified at this level] BA Philosophy and aesthetics of art [A-Z by main heading] BC Specific fields of representation 10 Iconography, symbolism, mythology, religious art, astrology, allegory 20 Heraldry 30 The body in art: the nude, portraits, tattoos, skin etc. -
Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 13001700 Sheila McTighe Representing from LifeLife inin Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late me- dieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth- century Italy Sheila McTighe Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Claude Lorrain. An artist studying from nature. 1639. Oil on canvas. Cincinnati Art Museum, Ohio, USA / Gift of Mary Hanna / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus isbn 978 94 6298 328 1 e-isbn 978 90 4853 326 8 doi 10.5117/ 9789462983281 nur 685 © S. -
Representations of Gender in Seventeenth-Century Netherlandish Alchemical Genre Painting
REPRESENTATIONS OF GENDER IN SEVENTEENTH-CENTURY NETHERLANDISH ALCHEMICAL GENRE PAINTING ELIZABETH OWAHONEY TWO VOLUMES VOLUMEI PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2005 ABSTRACT This thesis exploresthe depiction of genderin seventeenth-centuryNetherlandish genre paintings of the alchemist's or, more properly, the chymist's workshop. Derived primarily from the holdings of the Chemical Heritage Foundation,Philadelphia and the Wellcome Library, London, the paintings examinedby this project representa significant componentof Netherlandishgenre art, neglectedalmost entirely by critics. Of profound significanceto alchemicalphilosophy and emblematicart, genderalso plays a pivotal role in seventeenth-centurygenre paintings of the chymist's workshop. Expounding the nuancesof complex alchemicaldiscourse, this thesis exploresthe dynamic and often binaristic relationshipsbetween the 'male' and 'female' in thesescenes. Structured around the basic contentionthat all representationsof focal femalesin such paintings can be placed into one of four categories- Domestic Disquiet, Domestic Quiet, Patient and Chyrnical Worker - this thesisconsists of four chapters. Investigatingthe four categorizations,these chapters explore the extent and significance of genderedemblematicism in relation to traditional alchemicalsymbolism and Dutch Emblemata. The first chapter examinesfemale disquiet in pictures of the chrysopoeianworkshop and traces emblematic femalesin early modem emblembooks and genreprints. Focusing on depictionsof the feminine ideal