DOCSLIB.ORG

Statement from the Expert Advisers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Statement from the Expert Advisers Case 1 (2012-13): A Dutch Silver ewer and basin by Christian van Vianen Expert Adviser’s Statement Reviewing Committee Secretary’s note: Please note that any illustrations referred to have not been reproduced on the Arts Council England Website EXECUTIVE SUMMARY 1. Brief description of items A silver ewer and basin (see Appendix, fig. 1), the ewer 25.4 cm high; the basin 53.3 x 43 cm; their combined weight, 85 oz. Both ewer and basin marked with the maker’s mark of Christian van Vianen of Utrecht (c. 1600 / 1605 – 1667), and both pieces bearing the Utrecht assay office date mark for 1632. The condition of the ewer and basin is excellent: there are only a few small splits to the border of the basin. These are consistent with age and use. 2. Context Provenance Johan van der Haer (1573-1646) and Maria van Kinschot (1589- 1648) Johan van der Haer was a financial administrator of the Estates General, Maria was his wife. ? Johan van der Haer the younger and his descendants Johan and Maria’s son, also Johan, married at Zierikzee in 1632 and his descendants were related to several notable Zeeland families. The tax mark ‘Z’ for Zierikzee (in the Dutch province of Zeeland) shows that the ewer and basin remained in the Dutch provinces until 1795 at the earliest. Prince Augustus Frederick, Duke of Sussex (1773-1843): sold at Christie’s, 22 June 1843, lot 78. Sir George Murray: sold at Christie’s, 24 July, 1891, lot 55. The Marquess of Sligo The Countess of Rosebery: sold at Sotheby’s, London, 2 June, 1977, lot 186 – listed as among ‘Various Properties’. British Railways Pension Fund His Excellency Mohammed Mahdi Al Tajir Exhibited On loan to the Victoria and Albert Museum, 2000 – 2009 Christie’s, London: exhibition The Glory of the Goldsmith – Magnificent Gold and Silver from the Al-Tajir Collection (January 1990) On loan to the Victoria and Albert Museum, 1978 – 1989 The National Gallery, London, exhibition: Art in Seventeenth Century Holland (September – December 1976) Utrecht, Centraal Museum, exhibition: Zeldzaam Zilver uit de Gouden Eeuw: Utrechtse edelsmadan Van Vianen (December 1984 – February 1985) The Hague, Gemeentemuseum, exhibition: Vier eeuwen Nederlands zilver (July - September 1952) Key Publications J. R. ter Molen, Van Vianen: een Utrechtse familie van zilversmeden met een internationale faam, 2 vols (Leiderdorp: Gemeentedrukkerij Rotterdam, 1984) Ronald Lightbown, ‘Christian van Vianen at the Court of Charles I’, Apollo, LXXXVII (1968), 426-39 The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection, ed. by Charles Truman, catalogue of the exhibition held at Christie’s London, 3rd – 22nd January 1990 (London: Christie, Manson & Woods, 1989) 3. Waverley criteria The van Vianen ewer and basin meet Waverley criteria (2) – they are of outstanding aesthetic importance. The van Vianen ewer and basin meet Waverley criteria (3) – they are of outstanding significance to the study of the history and development of European decorative arts, the history of silversmithing, and the history of European royal patronage and collecting. Brief statement in support of this objection on the grounds of Waverley criteria 2 and 3 We submit that the innovative design of Christian van Vianen’s ewer and basin and the extraordinary skill with which they were executed mean they are of outstanding aesthetic importance. The influence of van Vianen’s works and the admiration they aroused are important elements in the study of taste, collecting and the decorative arts across Europe. DETAILED CASE 1. The objects A silver ewer and basin, made as a pair in Utrecht in 1632 by Christian van Vianen (c. 1600/1605 - 1667) (fig. 1). The ewer: The body of the ewer is raised from a single sheet of silver, with a hinged silver lid and applied hollow handle also of silver. The underside of the foot is applied with four strips of silver which are probably a later addition to enable the ewer to sit over the later coat of arms applied to the centre of the basin. The body of the vessel is asymmetric and defined by the ornamental figures and scroll-shapes that flow across its surface. The lid is embossed in the form of a fantastical sea-creature, its mouth the opening at the lip of the body of the vessel. The handle has been modelled in the form of a sea-serpent. The arms applied to the front of the ewer are later, and are those of Prince Augustus Frederick, Duke of Sussex (1773-1843) (fig. 2). The arms are surrounded by the ribbon of the Order of the Garter embossed with the motto of the Order. The basin: Oval in shape, embossed and chased from a single sheet of silver. The form of a fantastical creature embossed on the rim at one end; the creature leans into the basin and 2 appears to drink. The interior of the basin divided into seven lobes, the centre reserved for a coat of arms flanked by four embossed shells. The arms are those of Prince Augustus Frederick, Duke of Sussex (1773-1843) surrounded by the ribbon of the Order of the Garter embossed with the motto of the Order. They are on a plaque applied over the original Dutch arms. The original arms visible in reverse on the underside of the basin (fig. 3) are those of Johan van der Haer (1573-1646) and his wife Maria van Kinschot (1589-1648). Marks The ewer is marked under the lip (fig. 4). From left to right, the marks are: a shield in a circular punch, the town mark for Utrecht; the letter ‘P’, the date letter for the assay year 1632; assay mark ‘Z’ for Zierikzee for the year 1795.1 Below, a zig-zag mark which represents part of the assaying process, whereby silver samples are removed for testing the purity of the silver. Another zig-zag assay mark on the underside of the lid. The basin marked on the centre of the underside, marks from left to right: ‘AV’ in monogram, the mark of the goldsmith Christian van Vianen; a shield in a circular punch, the town mark for Utrecht; the letter ‘P’, the date letter for the assay year 1632. These marks are quite worn. Above them, assay mark ‘Z’ for Zierikzee for the year 1795. 2. Importance Christian van Vianen: Life and Work Christian van Vianen came from an established family of Utrecht goldsmiths. His father Adam was famed for his innovative pieces which explored the possibilities of rendering the liquid properties of metal in sculptural form. This is strikingly illustrated in his ewer of 1614, made for the Guild of Amsterdam Goldsmiths (fig. 5: Adam van Vianen, Ewer, 1614, Rijksmuseum, Amsterdam). Christian was apprenticed to his father, inherited his workshop, and absorbed and developed his father’s aesthetic and intellectual ideas. He also adopted his father’s ‘AV’ monogram as his own maker’s mark. Around 1650, Christian published a series of his father’s designs for silverwares.2 Unlike his father, Christian did not remain in Utrecht all his life but spent two extended periods in England and was buried there. A receipt shows he was already working for Charles I in 1630, but he did not arrive in London until 1632, where he remained almost permanently until 1643, when he returned to Utrecht. The 1 ter Molen, Die Utrechtse edelsmeden Van Vianen, cat. No. 87 (p. 98) for the marks; see also ter Molen, Zilver, p. 645 (for the Zierikzee mark). 2 Constighe Modellen, Van verscheijden Silvere Vaten, en andere sinnighe wercken, gevonden ende Geteeckent door den vermaerden E. Adam van Vianen Sijnde meerendeels door hem uyt een Stuck silvers geslagen (‘Ingenious models for various silver vessels, and other works of the imagination, invented and designed by the renowned silversmith Adam van Vianen, many of them raised from a single sheet of silver’). 3 restoration of Charles II brought him back to the English capital in November 1660, where he entered into partnership with another Dutch goldsmith. In 1663 Charles appointed him ‘silversmyth in ordinary’ to the royal household. Christian died in 1667 and was succeeded at court for a while by his son-in-law, John Cooqus.3 Christian van Vianen and a new aesthetic for silver The ewer and basin made by Christian for Johan van der Haer and Maria van Kinschot are superb examples of the extraordinary style of silversmithing which he developed from his father and which aroused such admiration among contemporary and later collectors. The hugely significant aspect of the works of Adam, and then Christian, van Vianen is that they developed a striking new aesthetic and a new way in which silver could be appreciated. Their fluid, sculptural approach to silver design had its visual origins in late- sixteenth-century Northern European engravings (fig. 6: Hendrick Goltzius, Bacchus, engraving after Cornelis Cornelisz (detail), 1598, Rijksprentenkabinet, Amsterdam), which in turn were inspired by reworkings of a form of Ancient Roman ornament dubbed ‘grotesque’ by Renaissance artists. The flowing, organic forms of the works produced by Adam and Christian had an intellectual justification, Platonic in origin, that all metals were liquids that had congealed beneath the earth. Moreover, as moisture sustained the vital heat of all living creatures, the aqueous character of metals meant they could on some level be considered living organisms.4 This is certainly reflected in the sinuous, plastic vessels they created. The ewer and basin also show the close relationship between the works of father and son. The organic form of the ewer in particular harks back to the design of a 1619 one made by Adam (fig.
Load more

Recommended publications
  • Full Program & Logistics Hna 2018
    Thank you for wearing your badge at all locations. You will need to be able to identify at any moment during the conference. WIFI at Het Pand (GHENT) Network: UGentGuest Login: guestHna1 Password: 57deRGj4 3 WELCOME Welcome to Ghent and Bruges for the 2018 Historians of Netherlandish Art Conference! This is the ninth international quadrennial conference of HNA and the first on the campus of Ghent University. HNA will move to a triennial format with our next conference in 2021. HNA is extremely grateful to Ghent University, Groeningemuseum Bruges, St. John’s Hospital Bruges, and Het Grootseminarie Bruges for placing lecture halls at our disposal and for hosting workshops. HNA would like to express its gratitude in particular to Prof. dr. Maximiliaan Martens and Prof. dr. Koenraad Jonckheere for the initiative and the negotiation of these arrangements. HNA and Ghent University are thankful to the many sponsors who have contributed so generously to this event. A generous grant from the Samuel H. Kress Foundation provided travel assistance for some of our North American speakers and chairs. The opening reception is offered by the city of Ghent, for which we thank Annelies Storms, City Councillor of Culture, in particular. We are grateful to our colleagues of the Museum of Fine Arts Ghent for the reception on Thursday and for offering free admission to conference participants. Also the Museum Het Zotte Kunstkabinet in Mechelen offers free entrance during the conference, for which we are grateful. In addition we also like to thank the sponsoring publishers, who will exhibit books on Thursday. This conference would not have been possible without the efforts of numerous individuals.
    [Show full text]
  • Libertycollection Welcome
    LibertyCollection Welcome We are a specialist boutique British manufacturer of solid brass door and window products, including the original iconic Princess and Constable Collections, along with custom accessories for electrical applications and bathrooms. With a unique range of Collections dating back to architectural periods in the early 16th Century we offer a uniquely extensive range of Period, Heritage and Contemporary Door Furniture made from the purest Brass all hand worked, polished and finished on site... in England. We work with professional and private clients worldwide to create elegant door and window furniture products for royal palaces, super yachts, stately homes and high specification private residences. Here and on our website you can learn more about us, the work we do and how we can help you add those finishing touches of elegancee Our Timeline of Architectural Styles Welcome to our Collections architectural timeline! We are in a privileged position to be able to showcase to you our range of period, heritage, classic and contemporary Collections including the original iconic Princess and Constable Collections. All of our Collections make reference to a particular historical architectural style, helping you choose the right finishing touches to your home. Within our Collections you will find a number of product types so that you can add that luxury touch, not only to your doors! Louis XIV Louis XV Louis XVI Adam Constable Executive Style: Baroque & Rococo Style: Neoclassical Style: Victorian Style: Modern 1590-1725 1750-1880 1835-1901 1918-2000 Style: Ancient Greek Style: Georgian Style: Regency Style: Art Nouveau Style: Contemporary 1200BC-100AD 1720-1840 1810-1835 1890-1910 1980-now Coming Soon Meandros Burlington Governor Princess Liberty Bamboo 2 Liberty Collection Style: Art Nouveau 1890-1910 A Brief History The late 19th Century to early 20th Century saw the arrival of the style that came to be known as Art Nouveau.
    [Show full text]
  • Influences and Confluences in European Silver
    Copy, manner or creation? Influences and confluences in European silver BY KAREL CITROEN Now that the history of the decorative arts has been accepted as an integral part of art history, its sources and origins have acquired the importance which formerly was accorded to the study of the so-called fine arts only. As in the case of painting and sculpture, we want to find out who were the first and the best in creating and exe­ cuting works of art and craftsmanship in precious metal, who were their followers and who were their copyists. As creations may be considered those examples, rarely occurring in silver, whereby a true artist not only invents new forms, but almost on his own a wholly new style: the names of Jamnitzer, the Van Vianens and Meissonnier immediately spring to the mind. With their originality a faultless execution goes hand in hand. Manner may be called the way of the supreme craftsman, who not only fully understands the possibilities of his material, but who also shows that he can think in silver, that he knows something of the How and the Why of his forms: Jan Lutma the Elder, the Germains, Paul dc Lamerie and the Augustes, to name a few only, belong to this category. And then there are the copyists, forming the majority of their craft, who generally are too busy working either for stock or for other shopkeepers, to bother about the intricacies of innovation and refinement. This category contains many varieties, rang­ ing from the earnest and talented craftsman, who may well at some time during his career pass the test of ‘mannerism’ (in the sense of the word as employed above), to the dilettante, who will never be able to link matter and spirit.
    [Show full text]
  • Representations of the Marine in Jacobean Drama and Visual Culture
    ‘A Sea-Change’: Representations of the Marine in Jacobean Drama and Visual Culture By Maria Shmygol Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy December 2014 TABLE OF CONTENTS ______________________________________________________ List of Illustrations ii Acknowledgements iv Note on Presentation v INTRODUCTION 1 CHAPTER ONE The Marine in English and Scottish Entertainments pre 1603 36 CHAPTER TWO Civic Pageantry: Marine Metaphor and Urban Location 69 CHAPTER THREE Seafaring and Maritime Endeavour 100 CHAPTER FOUR Strange Fish 135 CHAPTER FIVE Representations of the Marine in the Jacobean Court Masque 179 CONCLUSION 232 ILLUSTRATIONS 240 APPENDIX: Transcription and translation of Histoire tragique, & espouvantable […] d’un monstre marin (1616) 256 BIBLIOGRAPHY 263 i LIST OF ILLUSTRATIONS _____________________________________________________ Fig. 1. Detail from a hand-coloured woodcut depicting the Elvetham Entertainment (1591) as it appears in the revised second quarto of the printed account. Fig. 2. Plate from John Gough Nichols, ed., The Fishmongers’ Pageant on Lord Mayor's Day, 1616 Fig. 3. Woodcut from A True Relation, of the Lives and Deaths of two Most Famous English pyrats, Purser, and Clinton (London, 1639). Fig 4. Sea monster tableau vivant from Sebastian Münster’s Comographia Universalis (Basel, 1559). Fig. 5. Detail from Olaus Magnus, Carta Marina (Rome, 1572). Fig. 6. Title-page of A Most Strange and True Report of a Monsterous Fish, that Appeared in the forme of a Woman, from her Waist Upwardes (London, 1603). Fig. 7. From Conrad Gesner, Conradi Gesneri Medici Tigurini Historiae Animalium, 5 vols (Zurich, 1551-87), IV (1558).
    [Show full text]
  • Acquisitions Paintings
    92 the rijks museum bulletin Acquisitions Paintings • josephina de fouw, jenny reynaerts, matthias ubl, gregor j.m. weber and lisanne wepler • 1 jan jansz mostaert (Haarlem c. 1474­1552/53 Haarlem) Landscape with an Episode from the Conquest of America, c. 1535 Oil on panel, 86.5 x 152.5 cm ‘There is a landscape as well, a scene in the West boulders, the other has halberds, cannon and Indies with many naked people and a craggy rock muskets. A shot has just been fired, there is a flash and strange architecture of houses and huts; but at the end of the barrel and a native falls dead on it was left unfinished.’ It was thus that the famous the rock. Strikingly, the native population occupies Dutch artists’ biographer Karel van Mander far more space than the attackers. This is not a described this painting in 1604, in his biography picture of a glorious victory, it is a record of the of the Haarlem painter Jan Jansz Mostaert. At that brutal violation of a peaceful society in a recently time the work belonged to Mostaert’s grandson discovered idyllic ‘New World’. It is only at second Nicolaes Suycker. It is the painting now known as glance that we realize this has to be an exotic land­ Landscape with an Episode from the Conquest of scape. At first sight the world Mostaert created America that the Rijksmuseum was able to acquire is one of cattle, sheep, hares and other animals in 2013. that belong in a Northern European landscape. After Van Mander saw and described it, the By adding specific details including a monkey, a painting did not resurface until 1900, since when porcupine and several parrots, he endeavoured it has had a turbulent journey.
    [Show full text]
  • Abstract Biography of the Author
    FRAME: Concept, History and Conservation: Symposium 2, AGNSW, Sydney, April 3 - 5, 2019 George Bisacca Metropolitan Museum of Art, NY, USA [email protected] Abstract This lecture traces the evolution of ornament in Renaissance Florence through manuscript illumination, sculptural and architectural detail, furniture and fresco painting, culminating in the art of Bernardo Buontalenti, who is seen as a link between Mannerism and the Baroque and whose designs in the decorative arts may be responsible for the emergence of the auricular style in frames for the Galleria Palatina at Palazzo Pitti after the devastating fire of 1638. Although various scholars and frame historians attribute the origin of the auricular style to the Netherlands, this is at odds with the otherwise austere and sparse ornament present on buildings and furniture both before and after its 20-year popularity in the Low Countries. Given the seamless evolution and proliferation of ornamental forms across more than three centuries in Italy in general and in Florence in particular, the style would seem to be more logically explained as an outgrowth of existing trends. The flatness and reduced scale of the Northern examples relative to the Florentine prototypes is probably due to the designs first being disseminated northward through drawings. Biography of the Author George Bisacca, The Metropolitan Museum of Art Before joining the Paintings Conservation Department at the Metropolitan in 1983, Mr. Bisacca received conservation training at the Palazzo Pitti, Florence, specializing in the structural treatment of paintings on solid support. He has since been invited to treat panel paintings at several institutions in the United States and Europe.
    [Show full text]
  • The Van Vianen Family, Utrecht Silversmiths of International Renown
    The Van Vianen family, Utrecht silversmiths of international renown BY DR. J R TER MOLEN The work of the Van Vianen family of silversmiths is still highly regarded for its unequalled craftsmanship. They were in fact artists in precious metals, as is clear from the fact that they often signed their pieces. The family, which undoubtedly originated in Vianen, proves to have been established in Utrecht since at least the beginning of the sixteenth century. Willem van Vianen, the father of Adam and Paulus, is referred to as a bailiff and steward, while his wife was the daughter of a brewer and his brother owned a brewery in Vianen. Willem’s third son, Gijsbrecht, had a distinguished career in the Dutch East Indies and later settled in Vianen, while one of his daughters, Jannichgen, pro­ vides an important documentary link between Adam van Vianen and Segher Pietersz, a leading member of the Amsterdam Silversmiths* Guild and brother of the painter Pieter Lastman, who was probably the prime mover behind the interest in Adam in Amsterdam. Christian’s son, Adam jr., trained as a surveyor and is known for a number of maps of estates around Utrecht. Of Christian’s daughters, Aletta married Nicolaes de Bruyn, the son of the silversmith Michiel dc Bruyn van Berendrecht, who is described as a ‘London jeweller’, while Geertruyd married John Cooqus, the suc­ cessor of Christian van Vianen as court goldsmith in London. Ernst Jansz van Vianen, son of Willem’s brother Jan, the Vianen brewer, and cousin to Adam and Paulus, is identified with the silversmith of that name who is recorded as having done the chasing on the St Martin cup for the Brewers’ Guild in Haarlem in 1604 and who made two tazzas bearing the Utrecht mark in 1602.
    [Show full text]
  • Abstracts of Amsterdam 2010 Conference Papers
    Abstracts of Amsterdam 2010 Conference Papers Thursday, May 27, 2010 PARAGONE, SYMBIOSIS: RELATIONS BETWEEN PAINTING AND SCULPTURE IN NETHERLANDISH ART Chair: Lynn F. Jacobs (University of Arkansas) Kim W. Woods, Open University, [email protected] Early Netherlandish Painting and Sculpture: A Paragone? Early Netherlandish painters faced an artistic world in which painting arguably occupied a less prestigious position than sculpture, metalwork, tapestry and embroidery. Despite his much vaunted position as painter and ‘varlet de chambre’ of Duke Philip the Good of Burgundy, there is no evidence that Jan van Eyck undertook a single large-scale commission from his employer, while the published ducal accounts record large sums spent on other artistic projects. In building their immense reputations, and putting early Netherlandish painting on the cultural map of north-west Europe, Van Eyck, the Master of Flemalle and Rogier van der Weyden all had to establish their art in relation to other media. This paper aims to gather together some visual and documentary threads relating to the relative importance of painting and sculpture up to the mid 15th century. For example, it seems no accident that one of Jan van Eyck’s most virtuoso works, the Annunciation diptych in the Museo Thyssen Bornemisza in Madrid, evokes alabaster statues at exactly the time that fellow Bruges sculptor and ducal employee Gilles de Backere was working on the alabaster tomb of Michelle of France for Philip the Good. What evidence is there for a visual competition with sculpture in early Netherlandish painting? Around the same time, Jacques Daret was commissioned to paint shutters for an alabaster altarpiece for the Abbot of St.
    [Show full text]
  • Cembrit Patina Signature Offers a Wide Range of Design Possibilities for Façades
    Cembrit Patina Design Line DRAFT CEMBRIT PATINA DESIGN LINE Diversity in creation. DRAFT CEMBRIT PATINA DESIGN LINE Font Neutraface Diversity in creation. Cembrit Patina Signature offers a wide range of design possibilities for façades. The choice of different colours and parts of customised surfaces offers a variety of designs to meet creative ideas. The composition of Cembrit Patina façade panels allows an economical solution for the ent- ire building envelope. Different production techniques and manufacturing systems of Cembrit Patina and Cem- brit Patina Signature have to be considered when matching colours. Therefore, slight colour variations between Cembrit Patina and Cembrit Patina Signature are possible and provide individual charm at the same time. Minimal differences may also occur in the surfaces between Cembrit Patina Rough and Cem- TO CHECK brit Patina Signature, as Cembrit Patina Rough is machine sandblasted and Cembrit Patina Signature is manually sandblasted. As adaptable and extraordinary as fibre cement façades are, their appearance in the façade is equally authentic. CEMBRIT PATINA SIGNATURE Detail & overall appearance The overall visual impression of a building or its component is best assessed from a Some examples of application are available online in the Cembrit Visualiser. reasonable distance and under appropriate lighting conditions. The use of several colour tones next to each other, or an accentuated use of colour The following viewing distances have proven effective in practice: within a surface should not affect the motif, so that utilised shapes or motifs can be perceived as desired when viewed objectively. Building: The suitable distance corresponds to the distance that allows the perception of the When assessing details with Cembrit Patina Signature, the overall impression from building’s essential parts.
    [Show full text]
  • A Dutch Silver Windmill Cup Amsterdam, 1629, Gerrit Valck H 22,3 Cm, Ø 7,8 Cm, 210 Gr
    Introduction The Dutch Golden Age was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, and art were among the most acclaimed in the world. Through the Dutch East-India Company, The Northern Netherlands built a far- flung colonial empire and achieved unmatched prosperity. Socially, it saw the rise of what is often called the first “bourgeois” society, dominated by merchants. Therefore, the focus on this year’s collection is on what that prosperity has brought in 17th century silversmithing. Together with NOMOS AG (stand 260) we present a collection of 50 Dutch gold and silver medals that commemorate all the important events that shaped the Dutch Republic in this period. We have also made a separate publication on them. Several finely embossed silver plaquettes, even one on Johan van Oldebarnevelt, show that the Dutch silversmiths could run against any Dutch painter. A Frisian marriage casket, engraved after a print of Hans Janssen, is unmatched in quality. A windmill cup tells us that the Dutch loved their drinking games, but also by doing them in an elegant way. Our latest acquisition that deserves to be shown in Maastricht is a rare silver box in the typical Dutch flowerstyle. A Dutch silver filigree tea service brings the Orient very close to home. And finally, we are proud to present a silver and agate box by the acclaimed 20th century artist Josef Hoffmann, who founded the Wiener Werkstätte. All these treasures and much more can be admired in our stand 233 at Tefaf Maas- tricht from 12 untill 22 March.
    [Show full text]
  • Proquest Dissertations
    NOTE TO USERS This reproduction is the best copy available. ® UMI I "Beschildert met een Glans": Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting Tanya Paul Falmouth, MA B.A. University of Massachusetts, Amherst, 1998 M.A. University of Virginia, 2002 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art History University of Virginia May, 2008 UMI Number: 3312159 Copyright 2008 by Paul, Tanya All rights reserved. INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. ® UMI UMI Microform 3312159 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Tanya Paul All Rights Reserved May 2008 Volume I Ill Abstract: In his 1718 biography of the still life painter Willem van Aelst (1627-1683), Arnold Houbraken describes the artist's grand disposition and his great pride. It is this somewhat biased biography which begins to intimate the nature not only of van Aelst's personality, but also of his work.
    [Show full text]
  • DECO GROTESQUE: a MERGING of ARTISTIC STYLES a Thesis by AMANDA ASHBY Submitted to the Office of Graduate and Professional Studi
    DECO GROTESQUE: A MERGING OF ARTISTIC STYLES A Thesis by AMANDA ASHBY Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Chair of Committee, Carol LaFayette Committee Members, Stephen Caffey Philip Galanter Head of Department, Tim McLaughlin December 2019 Major Subject: Visualization Copyright 2019 Amanda Ashby ABSTRACT Working as an artist in the film or gaming industries requires finding solutions to unique challenges particular to the project or game one is helping to develop. In addition, many animated films and games are stylized; the goal is not to achieve realism but to make a world that conforms to an unusual set of artistic and physical rules. This work is an experiment in combining two styles, Art Deco and the Grotesque, to create digital 3D sculptures of wildlife overcome by fungi. I first established a taxonomy of shapes based on formal commonalities between Art Deco motifs and fungi. Next, I created sketches combining these elements with animal forms. Finally, I modeled, textured, and lit digital sculptures and produced a series of still renders. ii ACKNOWLEDGEMENTS I would like to thank my committee chair, Professor Carol LaFayette, and my committee members, Dr. Stephen Caffey and Professor Philip Galanter, for their guidance and support throughout the course of this project. iii CONTRIBUTORS AND FUNDING SOURCES This work was supervised by a thesis committee consisting of Professor Carol LaFayette and Professor Philip Galanter of the Department of Visualization and Dr. Stephen Caffey of the Department of Architecture.
    [Show full text]