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Print He Made After the Latter Work, All Date to 1638
Fighting Card Players and Death ca. 1638 oil on canvas Jan Lievens 67 x 84.9 cm (Leiden 1607 – 1674 Amsterdam) Signed and dated lower right: J. Lievens JL-107 © 2021 The Leiden Collection Fighting Card Players and Death Page 2 of 7 How to cite Wheelock, Arthur K., Jr. “Fighting Card Players and Death” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/fighting-card-players-and-death/ (accessed October 02, 2021). A PDF of every version of this entry 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) Fighting Card Players and Death Page 3 of 7 In 1635 Jan Lievens moved from London to Antwerp, perhaps expecting that Comparative Figures the arrival of the new governor-general of the Southern Netherlands, the Cardinal-Infante Ferdinand, would usher in a period of peace and prosperity beneficial to the arts.[1] Lievens soon joined the local painters’ guild and settled into a community of artists who specialized in low-life genre scenes, landscapes, and still lifes, among them Adriaen Brouwer (1605/6–38), Jan Davide de Heem (1606–83/84), David Teniers the Younger (1610–90), and Jan Cossiers (1600–71). In 1635, Brouwer depicted these artists in a tavern scene, Smokers, in the Metropolitan Museum of Art (fig 1).[2] The most inspirational of them for Lievens was Brouwer, who apparently encouraged Lievens to depict, once again, rough peasant types comparable to those he Fig 1. -
The Connections of the Thematical and Interpretational Question
Annamária Gosztola The Interconnections of the Thematical and Interpreational Questions of Flemish Baroque Painting in the Mirror of Dutch Realist Painting Doctoral theses 2007 Introduction The Katalog der Galerie alter Meister. Museum der Bildenden Künste by Andor Pigler, the former General Director of the Museum of Fine Arts, Budapest, published in 1967, is an indispensable, fundamental publication on the collection of the Old Masters’ Gallery, used even today. The vast, nearly unfollowable growth of the literature and the enrichment of the gallery with new acquisitions since its publishing necessitated its updating. In the spirit of this endeavour, the so-called summary catalogues of the collection have been produced, which contain new attributions, research results and bibliographical data complemented with the reproductions of all the works of art. Parallel to this “fire-extinguishing work” and under the pressure of the international tendencies, the demand for catalogues raisonnés, fully working up the collection, has more and more often arisen since the 1990s. The volume treating the Gallery’s Dutch and Flemish still lifes by Ildikó Ember as well as that discussing the Dutch and Flemish portraits by Rudi Ekkart, head of the Rijksbureau voor Kunsthistorische Documentatie, the Hague, are soon to be published. Six chapters of this present dissertation, giving an overview of the history of research and provenance history and containing the emphatic discussion of some more significant works as well as the scholarly treatment of the seventeenth to eighteenth century Flemish genre paintings of the Museum of Fine Arts, form a part of this large-scale professional enterprise. Chapter 1: The history of research of Dutch and Flemish genre painting in the past decades Chapter I of the dissertation contains the past decades’ history of research of Dutch and Flemish genre painting along with its literature and is complemented, in a gap-filling way, with the scholary results of Hungarian experts in this field. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data van Eikema Hommes, M.H. Publication date 2002 Link to publication Citation for published version (APA): van Eikema Hommes, M. H. (2002). Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data. 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 Listt of Selected Documentary Sources AA selection of the documentary sources referred to in this dissertation is found in the table below. Thesee sources contain information either on the material-technical aspects of painting or on the disolorationn of paintings and are listed by country and thereupon in chronological order. -
The Marian Philatelist, Whole No. 47
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 3-1-1970 The Marian Philatelist, Whole No. 47 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 47" (1970). The Marian Philatelist. 47. https://ecommons.udayton.edu/imri_marian_philatelist/47 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Pfiilatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W. J. Hoffman Editor Orange, California, 92667, U.S.A. Vol. 8 No. 2 Whole No. 47 MARCH 1, 1970 NEW ISSUES BRAZIL: (Class 1). A 10 centavos stamp iss ued for Christmas on December 8, 1969. De ANGUILLA: (Class 1). A 5-stamp Christmas sign depicts a CROWNED MADONNA AND CHILD set was issued October 27, 1969. We have bearing the title OUR LADY OF JOY. Illustra not been able to obtain the stamps, however tion with special first day cancellations the 40c value depicts a stylized MADONNA with article on page 23. AND CHILD with "Christ mas 19 69" in four lines. Independent Anguilla is not recog A sheet containing a 75 cts stamp also de nized by Scott but is listed by Michel and picts OUR LADY OF JOY; it was issued Decem Yvert. -
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. -
Charley Toorop
261748 Charley Toorop Groepsportret van H.P. Bremmer en zijn vrouw met kunstenaars uit hun tijd, 1936-1938 Otterlo (Ede), Kröller-Müller Museum Afbeeldingsnummer 1001201837 Afmetingen: 650x563 pixels Copyright Verder zoeken in RKDimages Naam kunstenaar Toorop, Charley Afgekorte literatuur Van Hall 1963 Afgekorte literatuur Bremer 1995 Afgekorte literatuur Bosma 2008 Afgekorte literatuur Erftemeijer/Van Kleef 2013 Collectieplaats Otterlo (Ede) Collectie Kröller-Müller Museum Onderwerpstrefwoorden groepsportret meer dan 10 personen Onderwerpstrefwoorden kunstenaarsportret Onderwerpstrefwoorden kunstverzamelaar Object gegevens Objectcategorie schilderij Drager/materiaal doek, olieverf Vorm/maten liggende rechthoek 131 x 150,8 cm Signatuur/opschrift Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk gesigneerd linksonder gedateerd op de achterzijde: 1936-1937-1938 Huidige toeschrijving Charley Toorop Datering Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes. 1936-1938 (1936 - 1938) gedateerd Onderwerp Titel Titel of de benaming van het kunstwerk. Deze kan verschillen van de titel die in (recente) publicaties wordt gegeven. Groepsportret van H.P. Bremmer en zijn vrouw met kunstenaars uit hun tijd Andere (oude) titel Andere titels of benamingen die het kunstwerk heeft gehad, of waaronder het ook bekend is. Soms betreft het ook oude (verworpen) identificaties van het onderwerp of van de voorgestgelde. De Bremmergroep Engelse titel Group portrait of H.P. Bremmer and his wife with artists from their time Onderwerpstrefwoorden groepsportret meer dan 10 personen, kunstenaarsportret, kunstverzamelaar Voorgestelden IB nummer Nummer gerelateerd aan de collectie portret-iconografie RKD. 34366 Hendricus Petrus Bremmer 1871-05-17 - 1956-01-10 Naam Bremmer, Hendricus Petrus Voorletters H.P. -
The Rijksmuseum Bulletin
the rijksmuseum bulletin 162 the rijks museum bulletin Acquisitions History and Print Room • jenny reynaerts, huigen leeflang, marijn schapelhouman, jeroen luyckx, mei jet broers and harm stevens • 1 attributed to nicolaes de kemp (c. 1550-1600) Genealogy of the Lords and Counts of Culemborg Utrecht, c. 1590-93 Vellum, gouache, ink, silver paint, gold, pigskin, 422 x 312 x 40 mm Around 1590 Floris I of Pallandt, Count of Culem- the family. The genealogy ends with the Pallandts borg, had a genealogy made. The creation of the – Floris’s parents. Dutch Republic some years before had put an end The genealogy is an unusual example of the to princely rule and the exceptional status of the nobility in the Low Countries’ urge to display nobility. The nobles tried to compensate for this their distinguished lineage. The illustrations are through symbolism. To set themselves apart from excellent quality – strikingly the figures have the middle-class ruling elite they stressed their individual facial features. The maker spent a great long lineage of important forebears. Floris I also deal of time on the details and tried to produce tried to legitimize his unique historic status: the the faces of the legendary ancestors as portraits. genealogy, which went back to ad 800, showed It is clear that he based the last generations on that he had come from an illustrious family. existing examples. The figures’ clothes vary from The manuscript consists of fifty-five vellum sheet to sheet, and the artist has even taken the sheets with illustrations attributed to Nicolaes de trouble to reflect the changing fashion through Kemp. -
1 Curriculum Vitae Prof. Dr. Ron Spronk
Curriculum Vitae Prof. dr. Ron Spronk Professor of Art History Department of Art History and Art Conservation Ontario Hall, Room 315 67 University Avenue Kingston, Ontario Canada K7L 3N6 SNS Reaal Fund Hieronymus Bosch Chair (20% FTE) Radboud University Nijmegen The Netherlands T: 613 533-6000, extension 78288 F: 613 533-6891 E: [email protected] Degrees: Ph.D., Groningen University, the Netherlands, Department of History of Art and Architecture, 2005. Doctoral Candidacy, Indiana University, Bloomington, IN, USA, Art History Department, 1994. Master’s degree equivalent (Dutch Doctoraal Diploma), Groningen University, the Netherlands, Department of History of Art and Architecture, 1993. Employment history: Since 2010: Hieronymus Bosch Chair, Radboud University, Nijmegen, the Netherlands (20% FTE). Since 2007: Professor of Art History (tenured), Department of Art, Queen’s University, Kingston, Ontario, Canada. Department Head from 2007 to 2010. 2006-2007: Research Curator, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 2005-2007: Lecturer on History of Art and Architecture, Department of History of Art and Architecture, Harvard University, Cambridge, MA, USA. 1999-2006: Associate Curator for Research, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 2004: Lecturer, Department of History of Art and Architecture, Groningen University, the Netherlands. 1997-1999: Research Associate for Technical Studies, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 1996-1997: Andrew W. Mellon Research Fellow, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 1995-1996: Special Conservation Intern, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. -
Contemporary Chinese Art
FRICK FINE ARTS LIBRARY ART HISTORY: CONTEMPORARY CHINESE ART Library Guide Series, No. 44 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* This bibliography is highly selective and is meant only as a starting place to aid the beginning art history student in his/her search for library material. The serious student will find other relevant sources by noting citations within the encyclopedias, books, journal articles, and other sources listed below in addition to searching Pitt Cat, the ULS online catalog. IMPORTANT: For scholars who read Chinese, please note that the resources on this library guide are primarily in Western languages. Chinese language materials can be searched in Pitt Cat Classic using Pinyin. Reference assistance with Chinese language materials is available at the East Asian Library on the 2nd floor of Hillman Library. Before Beginning Research FFAL Hours: M-H, 9-9; F, 9-5; Sa-Su, Noon - 5 Policies Requesting Items: All ULS libraries allow you to request an item that is in the ULS Storage Facility or has not yet been cataloged at no charge by using the “Get It” Icon in Pitt Cat Plus. Items that are not in the Pitt library system may also be requested from another library that owns them via the same icon in the online catalog. There is a $5.00 feel for photocopying journal articles (unless they are sent to the student via email). Requesting books from another library is free of charge. Photocopying and Printing: There are two photocopiers and one printer in the FFAL Reference Room. One photocopier accepts cash (15 cents per copy) and both are equipped with a reader for the Pitt ID debit card (10 cents per copy). -
Geoforum 46 (2013) 16–24
Geoforum 46 (2013) 16–24 Contents lists available at SciVerse ScienceDirect Geoforum journal homepage: www.elsevier.com/locate/geoforum Making things irreversible. Object stabilization in urban planning and design ⇑ Martijn Duineveld a, , Kristof Van Assche b,c, Raoul Beunen d a Cultural Geography Group, P.O. Box 47, 6700 AA Wageningen, The Netherlands b Communication & Innovation Studies, Wageningen University, The Netherlands c ZEF/Center for Development Research, Bonn University, Germany d Land Use Planning Group, Wageningen University, P.O. Box 47, 6700 AA Wageningen, The Netherlands article info abstract Article history: Based on a detailed reconstruction of the planning process of a controversial major building in the Dutch Received 6 July 2011 city of Groningen, we develop a theoretical and conceptual framework for studying object formation and Received in revised form 26 November 2012 stabilisation. We argue that the many forms of resistance against the object itself triggered a variety of Available online 11 January 2013 counter-strategies of object formation. We make a distinction between sites, paths and techniques of object formation. To study object formation in more detail we distinguish three techniques: reification, Keywords: solidification and codification. The techniques of object formation are accompanied by three techniques Object formation that produce a relative stability of the object, that increases its irreversibility, the likelihood of object sur- Foucault vival: objectification, naturalisation and institutionalisation. We conclude that complete irreversibility is Actor-Network Theory Governance an illusion in governance and planning processes. Civil resistance Ó 2012 Elsevier Ltd. All rights reserved. Urban planning Irreversibility 1. Introduction the intention of the local government has been to redesign the eastern side of this square (Gemeente Groningen, 2009; Duineveld, According to Nigel Thrift the spatial turn in Geography ‘has 2011). -
12, 13 Y 14 DE JUNIO 2018 Detalle Lote 1177 PINTURA ANTIGUA Y SIGLO XIX, CAMBIO DE SIGLO Y ARTE CONTEMPORÁNEO
ALCALÁ SUBASTAS 12, 13 Y 14 DE JUNIO 2018 detalle lote 1177 PINTURA ANTIGUA Y SIGLO XIX, CAMBIO DE SIGLO Y ARTE CONTEMPORÁNEO IMPORTANTE COLECCIÓN MADRILEÑA DE PINTURA, MUEBLES Y OBJETOS ARTES DECORATIVAS, ESCULTURA Y MUEBLES JOYAS, MONEDAS Y RELOJES Subasta: martes 12 de junio de 2018 a las 18:30h Joyas, Monedas y Relojes en Núñez de Balboa, 9 miércoles 13 de junio de 2018 a las 18:30h Pintura Antigua y Siglo XIX, Cambio de Siglo, Artes Decorativas, Escultura y Muebles en Núñez de Balboa, 9 jueves 14 de junio de 2018 a las 18:30h Importante colección madrileña de Pintura, Muebles y objetos Artes Decorativas, Escultura y Muebles, Arte Moderno y Contemporáneo, en Núñez de Balboa, 9 Exposición: del 1 al 11 de junio de 2018 en Núñez de Balboa, 9 Horario de exposición: de lunes a viernes de 10:30 a 14:00h y de 16:30 a 20:00h sábados de 10:30 a 14:30h ALCALÁ SUBASTAS Núñez de Balboa, 9 - 28001 Madrid TELÉFONO 91 577 87 97 MÓVIL 717 791 739 FAX 91 432 47 55 www.alcalasubastas.es · [email protected] Lote 736 Depósito Legal: M-16265-2018 Fotomecánica e Impresión: MEDIUM GRAPHICS D.S.SL Encuadernación: MEDIUM GRAPHICS D.S.SL Fotografía: Óscar Fernández Martín www.alcalasubastas.es 1ª SESIÓN MARTES 12 DE JUNIO DE 2018 a las 18:30 horas JOYAS, MONEDAS Y RELOJES Lotes 1 – 458 2ª SESIÓN MIÉRCOLES 13 DE JUNIO DE 2018 a las 18:30 horas PINTURA ANTIGUA Y SIGLO XIX Lotes 459 – 568 PINTURA CAMBIO DE SIGLO Lotes 569 – 585 LIBROS Y MANUSCRITOS Lotes 586 - 590 ARTES DECORATIVAS, ESCULTURA Y MUEBLES Lotes 591 - 885 3ª SESIÓN JUEVES 14 DE JUNIO DE 2018 a las 18:30 horas IMPORTANTE COLECCIÓN MADRILEÑA DE PINTURA, MUEBLES Y OBJETOS Lotes 886 – 1068 ARTES DECORATIVAS, ESCULTURA Y MUEBLES Lotes 1069 – 1107 ARTE MODERNO Y CONTEMPORÁNEO Lotes 1108 – 1283 461 459 460 459 ESCUELA ANGLOINDIA, 460 ESCUELA ANGLOINDIA, 461 ESCUELA ANGLOINDIA, SIGLO SIGLO XIX SIGLO XIX XIX Taj Mahal Retrato de un sultán Taj Mahal Miniatura sobre marfil. -
ZENG FANZHI B
ZENG FANZHI b. 1964, Wuhan, China Lives and works in Beijing, China EDUCATION 1991 BFA, Hubei Institute of Fine Arts, Hubei, China SELECTED SOLO EXHIBITIONS 2018 Zeng Fanzhi: In the Studio, Hauser & Wirth, Zurich, Switzerland; London, England; Hong Kong, China 2017 Zeng Fanzhi/Van Gogh, Van Gogh Museum, Amsterdam, Netherlands 2016 Zeng Fanzhi: Parcours, Ullens Center for Contemporary Art, Beijing, China 2015 Zeng Fanzhi: Paintings, Drawings, and Two Sculptures, Gagosian Gallery, New York, USA Zeng Fanzhi: The Louvre Project, ShanghART Beijing, Beijing, China 2014 Musée du Louvre, Paris, France 2013 Musee d’Art Moderne de la Ville de Paris, Paris, France 2012 Gagosian Gallery, London, UK 2011 Gagosian Gallery, Hong Kong, China Zeng Fanzhi: Being, Hong Kong Convention and Exhibition Centre, Hong Kong, China 2010 2010: Zeng Fanzhi, Rockbund Art Museum, Shanghai, China National Gallery for Foreign Art, Sofia, Bulgaria 2009 Fundación Godia, Barcelona, Spain Acquavella Gallery, New York, NY Narcissus looks for Echo, Suzhou Museum, Suzhou, China 2008 Tai Ping You Xiang, ShanghART Beijing, Beijing, China 2007 Musée d’Art Moderne de Saint- É tienne de Métropole, Saint-É tienne, France Zeng Fanzhi: Idealism, Singapre Art Museum, Singapore Zeng Fanzhi 1989–2007, Gallery Hyundai, Seoul, Korea 2006 Zeng Fanzhi: Paintings, ShanghART H-Space, Shanghai, China Hero—Zeng Fanzhi, Art Basel Miami, Miami, USA Zeng Fanzhi: Paintings, Gallery Wedel, London, UK 2005 New Paintings by Zeng Fanzhi, Hanart TZ Gallery, Hong Kong, China Sky: The Paintings of Zeng