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thE PiNAKOTHEk MUSEUMS iN THE kUNSTAREaL MÜNChEN oRiENtatioN Schelling- straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 ENGLiSh 6 m U a / 3 NEUE Tr Heßstraße PINAKOTHEK U e ß e MUSEUM REICH a U2 ß r a t e DER KRISTALLE Bus 100 r s t ß n s a e Theresienstraße g i U H H H i l w a sstr i Pinakotheken MUSEUM d m c u A BRANDHORST L Ar TÜRKENTOR e ALTE ß ra PINAKOTHEK PINAKOTHEK t DER MODERNE Gabelsbergerstraße r S re H a e B Bus 100 ß a 0 10 r ÄGYPTISCHES s LENBACH- st MUSEUM Karolinen- Bu en HAUS platz k H r ü GLYPTOTHEK T NS-DOKU- U U Königsplatz ZENTRUM Brienner Straße H KUNSTBAU STAATL. GRAPH. Odeonsplatz SAMMLUNG STAATLICHE ANTIKEN- SAMMLUNGEN 5 aLtE PiNakothEk Daily except MON 10am–6pm | TUE 10am–8pm www.pinakothek.de/en/alte-pinakothek NEUE PiNakothEk Daily except TUE 10am–6pm | WED 10am–8pm www.pinakothek.de/en/neue-pinakothek PiNakothEk DER MoDERNE Daily except MON 10am–6pm | THURS 10am–8pm www.pinakothek.de/en/pinakothek-der-moderne MUSEUM BRaNDhoRSt Daily except MON 10am–6pm | THURS 10am–8pm www.museum-brandhorst.de/en Sammlung SChaCk WED–SUN 10am–6pm | Every 1st and 3rd WED in the month 10am–8pm www.pinakothek.de/en/sammlung-schack DEaR viSitoRS, NEUE PiNakothEk We hope you have an exciting visit and request that you please do not Barer Straße 29 touch the artworks. Please put umbrellas, large bags (bigger than A4) D 80799 Munich and backpacks in the lockers or check them into the cloakroom located T +49.(0)89.2 38 05-195 in the basement. -
Romantic Germany May 2019 Drawings from Weimar’S Museums 22 May - 1 September 2019
PRESS KIT Romantic Germany May 2019 Drawings from Weimar’s Museums 22 May - 1 September 2019 Tuesday - Sunday, 10 am - 6 pm INFORMATION Open late: Friday until 9 pm www.petitpalais.paris.fr Franz Kobell, Paysage avec grotte, tombeaux et ruines au clair de lune (détail), vers 1787 © Klassik Stiftung Weimar Exhibition organised in association with PRESS CONTACT: Mathilde Beaujard [email protected] +33 1 53 43 40 14 Romantic Germany, drawings from Weimar’s museums - 22 May / 1 September 2019 CONTENTS Press Release p. 3 Guide to the exhibition p. 4 The exhibition scenography p. 9 Exhibition album p. 10 The Ingres of the Montauban’s museum p. 11 Paris Musées, a network of Paris museums p. 12 About the Petit Palais p. 13 Practical information p. 14 2 Romantic Germany, drawings from Weimar’s museums - 22 May / 1 September 2019 PRESS RELEASE For the first time in France the Petit Palais is presenting a selection of 140 drawings from the lavish collections of Weimar’s museums. These remarkable images – initially chosen by Goethe (1749–1832) for the Grand Duke of Saxe- Weimar-Eisenach and his own collection – offer a spec- tacular overview of the golden age of German drawing (approx. 1780–1850). In the late 18th century the city of Weimar, seat of the Dukes of Saxe-Weimar, was Germany’s intellectual hub. A key figure at this enlightened court, Goethe accumulated numerous posts of cultu- ral responsibility, in addition to writing most of his works there. Himself a knowledgeable collector and draughtsman, he built up for the Grand Duke a handsome collection representing every facet of German drawing. -
Revision and Exploration German Landscape
REVISION AND EXPLORATION GERMAN LANDSCAPE DEPICTION AND THEORY IN THE LATE 18TH CENTURY Ph.D. Thesis History of Art University College London Mark A. Cheetham June, 1982 THESIS ABSTRACT "Revision and Exploration: German Landscape Depiction and Theory in the Late Eighteenth Century" My thesis focuses on the work of German painters in Italy c.l770-1800, and addresses issues raised by their complex relationship with the 17th century Italianate landscape tradition. Jakob Philipp Hackert (1737-1807), Johann Christian Reinhart (1761-1847), and Joseph Anton Koch (1768- 1839) worked in Italy precisely because they considered them- selves to be thg inheritors of the 17th century landscape style of Claude, Dughet, Rosa, and Nicolas Poussin. But while the German paintings do resemble the earlier works, they also revise the 17th century programme of representing Ideal nature. They are more detailed and precise in their depiction of natural phenomena; they also represent natural events and sites not included in the traditional canon. Extrapolating from 18th century critical terminology, I have developed the term "particularity" to focus attention on this unprecedented attentiontt the details of nature. I argue that the late 18th century German landscapes revise the Italianate landscape tradition so that it embodies particularity, and that the impetus for this change comes from two contemporary sources: natural history -- especially the nascent sciences of geology and biology -- and art theory. My argument is divided into three sections. In the first, I establish the existence and visual characteristics of particu- larity first by contrasting 17th century versions of the famous cascades at Tivoli (by Claude, Dughet, and others) with depic- tions of the same site by late 18th century German artists, and second, by describing the new sites which were explored and depicted by Hackert, Reinhart, and Koch. -
Friedrich Overbeck's 'Portrait'
AUF DEN SPUREN DER NAZARENER: Re-reading Vittoria Caldoni: Friedrich Overbeck’s ‘Portrait’ in the Neue Pinakothek by Charles Davis One of the indubitable masterpieces of the somewhat uneven collection of paintings displayed in the Neue Pinakothek in Munich is Johann Friedrich Overbeck’s seemingly perfect Vittoria Caldoni. During a recent Sunday morning visit to the museum, undertaken with the intention of looking at the Nazarene paintings in the collection, the portrait of Vittoria Caldoni exercised its curious fascination, and, as pictures often do, it appeared increasingly puzzling upon prolonged inspection. Only much later did I come across Keith Andrews’s conclusion to his brief commentary upon this painting in his seminal book of 1964, The Nazarenes, a work instrumental in reviving a more widespread interest in these long-neglected and often disparaged painters. Of Overbeck’s Vittoria Caldoni, the author writes: “The frontal disposition draws the spectator into the picture and forces him, intentionally, to seek a meaning beyond mere portrait representation” (pp. 113-114). Nowhere does Andrews enlarge upon what this ‘meaning’ might be, but nevertheless his observation, if inadvertently, corresponds to the agendum of the present essay. Although a book published in 2011 by the Akademie Verlag in Berlin describes Andrews as a ‘Scottish scholar’ and a ‘non-German art historian’, it might be remembered that he was born as Kurt Aufrichtig in Hamburg on 11 October 1920. 2 Friedrich Overbeck, Vittoria Caldoni, 1821. Neue Pinakothek, München Overbeck’s Vittoria Caldoni is universally referred to as her portrait, but, paradoxically, in his representation the artist is at pains to attribute to the young girl from Albano whom he portrays a social rôle in the world of work which she, in reality, did not perform. -
Master Drawings 1500 — 1950 Arnoldi-Livie
master drawings 1500 — 1950 Arnoldi-Livie MASTER DRAWINGS 1500 -1950 Including five drawings from the MICHAEL BEROLZHEIMER COLLECTION restituted by German museums Published on the occasion of the SALON DU DESSIN Paris 2021 Catalogue 32 Galeriestraße 2b D-80539 München [email protected] www.arnoldi-livie.de +49(0)89 22 59 20 HANS SÜSS VON KULMBACH (Kulmbach 1476 – 1528 Nürnberg) 1 The Mass of the Angels, before 1510 Pen in brown ink 28.8 x 21.7 cm Monogram „AD“ lower middle right EXHIBITIONS: PROVENANCE: Kunsthaus Malmedé, Handzeichnungen alter Meister aus Étienne-Joseph-Théophile Thoré-Bürger (1807-1869), Rheinischem Privatbesitz, Cologne, May – July 1934, Paris, for L’Alliance des Arts (1842-1848), Paris (L. 61) cat. no. 42. With unidentified collector‘s mark (HB) (L. 3499) Johannes Goldsche, Berlin, before 1942 SELECTED LITERATURE: Gutekunst & Klipstein, Bern, 22 November 1956, lot 188 F. Winkler, Die Zeichnungen Hans Süss von Kulmbachs Dr Peter Kröker, Essen (acquired in 1956) und Hans Leonhard Schäufeleins, Berlin, 1942, no. 12 Arnoldi-Livie, Munich (2004) (as Hans Süss von Kulmbach). Collection Jean Bonna, Geneva L. Oehler, ‚Das ‘geschleuderte’ Dürer-Monogramm‘, in: Marburger Jahrbuch für Kunstwissenschaft, Marburg, In our sheet, closely related to a Dürer composition in XVII, 1959, pp. 64, 73 and 151-153, fig. 8 (as Hans Süss Rennes (see ill. lower left), Kulmbach has concentrated von Kulmbach). on the angels at the base who in a context of a heavenly W. L. Strauss, The Complete Drawings of Albrecht Dürer, mass display a placard to the viewer. In Dürer‘s drawing New York, 1974, under no. -
Direct PDF Link for Archiving
Lionel Gossman Unwilling Moderns: The Nazarene Painters of the Nineteenth Century Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003) Citation: Lionel Gossman, “Unwilling Moderns: The Nazarene Painters of the Nineteenth Century,” Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003), http://www.19thc- artworldwide.org/autumn03/273-unwilling-moderns-the-nazarene-painters-of-the-nineteenth- century. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2003 Nineteenth-Century Art Worldwide Gossman: Unwilling Moderns: The Nazarene Painters of the Nineteenth Century Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003) Unwilling Moderns: The Nazarene Painters of the Nineteenth Century by Lionel Gossman Introduction Widely acclaimed in their own time, the Nazarene artists of early nineteenth-century Germany are virtually unknown to the museum-going public in most Western countries today. Even among art historians, only a few have much familiarity with their work. Keith Andrew's pioneering monograph in English, The Nazarenes (Oxford: Clarendon Press, 1964), cannot be said to have substantially changed this situation and the book has been allowed to go out of print.[1] The first question to be addressed in any reconsideration of the Nazarenes is therefore historiographical: How did they fall into almost total oblivion outside their native land? As most judgments of their work by those who do know it are, in addition, ambiguous at best, a further step must be to reconstruct the situation to which the Nazarenes were responding and the political, ethical, and aesthetic choices they faced. -
Sammlung Rudolf Neumeister Neumeister
22 – 24 24 OKT OKT 2019 2019 SAMMLUNG BD / VOL 3 RUDOLF NEUMEISTER SKULPTUREN GRAPHIK GEMÄLDE SCULPTURE WORKS ON PAPER PAINTINGS SAMMLUNG RUDOLF SAMMLUNG RUDOLF NEUMEISTER NEUMEISTER NEUMEISTER www.neumeister.com 24 OKT 2019 24 OKT 2019 24 OCT 2019 NEUMEISTER Bd / Vol 3 Skulpturen Graphik Gemälde Sculpture Works on Paper Paintings NEUMEISTER Münchener Kunstauktionshaus Barer Str. 37 80799 München [email protected] www.neumeister.com AUKTION SAMMLUNG 22 – 24 OKT 2019 RUDOLF NEUMEISTER AUCTION 22 – 24 OCT 2019 22. Oktober 22 October 18 Uhr 6 pm Kat.-Nr. 1– 86 Lot 1– 86 23. Oktober 23 October 15 Uhr 3 pm Kat.-Nr. 100 – 493 Lot 100 – 493 24. Oktober 24 October 15 Uhr 3 pm Kat.-Nr. 500 – 765 Lot 500 – 765 Besichtigung Preview 16. – 20. Oktober 16 – 20 October Täglich 10 – 17 Uhr Daily 10 am – 5 pm Sa /So 10 – 15 Uhr Sa /So 10 am – 3 pm Verfolgen Sie unsere Auktionen LIVE www.lot-tissimo.com www.invaluable.com Alle Lose mit einem unteren Schätzwert ab € 2.000 wurden mit der Datenbank des Art Loss Registers abgeglichen. 12 Skulpturen / Sculpture Kat.-Nr. / Lot 500 106 Graphik 15. – 18. Jahrhundert Works on Paper 15th to 18th Century Kat.-Nr. / Lot 573 118 Graphik 19./20. Jahrhundert Works on Paper 19th/20th Century Kat.-Nr. / Lot 582 182 Gemälde 15.–18. Jahrhundert Old Master Paintings Kat.-Nr. / Lot 667 214 Gemälde 19. / 20. Jahrhundert Pantings 19th / 20th Century Kat.-Nr. / Lot 692 285 Künstlerindex Artist Index 5 8 9 12 SKULPTUREN / SCULPTURE Kat.-NR. / LOT 500 / 10 SKULPTUREN SCULPTURE KAT.-NR. -
Nineteenth Century European Paintings, Drawings and Sculpture
NINETEENTH CENTURY EUROPEAN PAINTINGS, DRAWINGS AND SCULPTURE SPRING EXHIBITION May 3rd through July 20th, 2007 Exhibition organized by Robert Kashey and David Wojciechowski Catalogue by Elisabeth Kashey SHEPHERD & DEROM GALLERIES 58 East 79th Street New York, N. Y. 10021 Tel: 1 212 861 4050 Fax: 1 212 772 1314 [email protected] www.shepherdgallery.com © Copyright: Robert J. F. Kashey for Shepherd Gallery, Associates, 2007 CATALOGUE COVER ILLUSTRATION: Jean-Léon Gérôme, Project for the Manufactory of Tapestries of Beauvais, 1887, cat. no. 33. GRAPHIC DESIGN: Keith Stout. PHOTOGRAPHY: Hisao Oka. TECHNICAL NOTES: All measurements are in inches and centimeters; height precedes width. All drawings and paintings are framed. Prices on request. All works subject to prior sale. SHEPHERD GALLERY SERVICES has framed, matted, and restored all of the objects in this exhibition, which required it. The Service Department is open to the public by appointment, Tuesday through Saturday from 10:00 a.m. to 6:00 p. m. Tel: (212) 744 3392; fax: (212) 744 1525; e-mail: [email protected]. 1 PERLIN, Firmin 1747 - 1783 French School FOUNTAIN IN AN INTERIOR COURTYARD, 1769 Watercolor and ink on medium-weight laid paper. No water - mark. 18” x 24 1/2” (25.7 x 62.2 cm) Signed and dated in black Among his architectural works are the courtyard of ink at lower left: Perlin inv. et fec. 1769 . the Hôtel du duc de Montmorency and the Pavillon Colombe , once inhabited by the singer Adeline Colombe, then Note: The present drawing is one of the rare large by the duc de Talleyrand, and much later by the writer architectural views by Perlin, who excelled in double- Edith Wharton. -
Daxer & M Arschall 20 17
XXIV Daxer & Marschall 2017 Recent Acquisitions, Catalogue XXIV, 2017 Barer Strasse 44 | 80799 Munich | Germany Tel. +49 89 28 06 40 | Fax +49 89 28 17 57 | Mob. +49 172 890 86 40 [email protected] | www.daxermarschall.com 2 Paintings, Oil Sketches and Sculpture, 1760-1940 My special thanks go to Simone Brenner and Diek Groenewald for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Paolo Antonacci, Helmut Börsch-Supan, Thomas le Claire, Sue Cubitt, Eveline Deneer, Roland Dorn, Christine Farese Sperken, Stefan Hammenbeck, Kilian Heck, Gerhard Kehlenbeck, Rupert Keim, Cathrin Klingsöhr-Leroy, Isabel von Klitzing, Anna-Carola Krausse, Marit Lange, Bjørn Li, Philip Mansmann, Verena Marschall, Sascha Mehringer, Werner Murrer, Hans-Joachim Neidhardt, Max Pinnau, Klaus Rohrandt, Annegret Schmidt-Philipps, Anastasiya Shtemenko, Gerd Spitzer, Talabardon & Gautier, Niels Vodder, Vanessa Voigt, Diane Webb, Gregor J. M. Weber, Wolf Zech. Our latest catalogue Oil Sketches, Paintings and Unser diesjähriger Katalog Oil Sketches, Paintings and Sculpture, 2017 Sculpture, 2017 comes to you in good time for this erreicht Sie pünktlich zum Kunstmarktereignis des Jahres, TEFAF, The year’s TEFAF, The European Fine Art Fair in Maas- European Fine Art Fair, Maastricht, 9. - 19. März 2017. tricht. TEFAF is the international art market high point of the year. It runs from 9 to 19 March 2017. Der Katalog präsentiert Werke, die unseren qualitativen und ästhetischen Maßstäben gerecht werden. -
A Stained Glass Masterpiece in Victorian Glasgow
A STAINED GLASS MASTERPIECE IN VICTORIAN GLASGOW STEPEHEN ADAM’S CELEBRATION OF INDUSTRIAL LABOR Lionel Gossman with Ian R. Mitchell and Iain B. Galbraith 1 A STAINED GLASS MASTERPIECE IN VICTORIAN GLASGOW STEPHEN ADAM’S CELEBRATION OF INDUSTRIAL LABOR by Lionel Gossman with Ian R. Mitchell and Iain B. Galbraith 2 TABLE OF CONTENTS Prefatory Note and Acknowledgments (pp. 3-9) Maryhill Burgh Halls Album (pp. 10-14) Part I. “Cinderella to her Sister Arts.” Reflections on the Standing of Stained Glass as Art. (pp. 15-38) Part II. Stephen Adam’s Work in Historical Context. 1. The Revival of Stained Glass in the Nineteenth Century. (pp. 39-58) 2. Charles Winston on Stained Glass. (pp. 59-68) 3. Stephen Adam on Stained Glass. (pp. 69-93) Part III. The Maryhill Burgh Halls Panels 1. Stephen Adam: The Early Years and the Glasgow Studio. (pp. 94-117) 2. “A man perfects himself by working.” (pp.118-135) 3. An Original Style. Realism and Neo-Classicism in the Maryhill Panels. (pp. 136-157) Endnotes. (pp. 158-188) Appendix I. “The Maryhill Panels: Stephen Adam’s Stained Glass Workers” by Ian R. Mitchell. (pp. 189-204) Appendix II. “’Always happy in his Designs’: the Legacy of Stephen Adam” by Iain B. Galbraith. (pp. 205-220) Appendix III. Chronology of Works in Stained Glass by Stephen Adam. (pp. 221-236) 3 PREFATORY NOTE AND ACKNOWLEDGMENTS The Burgh Halls of Maryhill – a district in the north-western section of Glasgow1 -- are adorned by twenty stained glass panels of extraordinary power, beauty, and originality. Created some time between 1877 and 1881 by the barely thirty-year old Stephen Adam in collaboration with David Small, his partner in the studio he opened in Glasgow in 1870, these panels are unique among stained glass works of the time in that they depict the workers of the then independent burgh not for the most part in the practice of traditional trades (baker, weaver, flesher, cooper, hammerman, etc.) (see Pt. -
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From Dürer to Van Gogh: Gifts from Eliza Greene Radeke and Helen Metcalf Danforth, June 5, 2008-October 26, 2008 The inaugural exhibition in the Museum’s new Vincent and Linda Buonanno Works on Paper Gallery celebrates the remarkable contributions of two women, Eliza Greene Radeke (née Metcalf, 1854– 1931) and her niece Helen Metcalf Danforth (1887–1984), to the Museum collection. Both were instrumental to the formation and growth of the Rhode Island School of Design as a whole and to increasing the institution’s prestige. Eliza Radeke served as President of the Board of Trustees from 1913 until her death in 1931. Helen Danforth succeeded her aunt as President and Chair from 1931 until 1965. Exhibited here are highlights from their numerous gifts, many of which are now the Museum’s best loved and most notable works. Founded in 1877, RISD’s stated purpose was to educate artists in drawing, painting, modeling, and design for the benefit of industry and art, and to educate the public so that they could appreciate and support art and design. The creation of a museum collection was inseparable from those objectives. In that spirit, both Eliza Radeke (the daughter of one of RISD’s founders, Helen A. Metcalf) and Helen Danforth made extraordinary donations to all departments of the Museum, especially to drawings, prints, ancient art, textiles, American furniture and decorative arts, and European and American painting. Drawings and prints were essential to the overall educational goals they set, as well as being personal passions for both women. Between them, they presented over 1,300 prints and drawings to the Museum. -
Spring 2018 Shepherd W & K
WORKS FROM THE GALLERY COLLECTION: SPRING 2018 SHEPHERD W & K GALLERIES WORKS FROM THE GALLERY COLLECTION: SPRING 2018 March/April 2018 Exhibition organized by RoBert Kashey and David Wojciechowski Catalog By Stephanie Hackett SHEPHERD W & K GALLERIES 58 East 79th Street New York, N.Y. 10075 Tel: 1 212 861 4050 Fax: 1 212 722 1314 [email protected] www.shepherdgallery.com © Copyright: Robert J. F. Kashey for Shepherd Gallery, Associates, 2018 COVER ILLUSTRATIONS: Pierre-François-Eugène Giraud, Portrait of Alexandre Dumas Père (1802-1870), circa 1830/40. TECHNICAL NOTES: All measurements are in inches and in centimeters; height precedes width. All drawings and paintings are framed. Prices on request. All works subject to prior sale. SHEPHERD GALLERY SERVICES has framed, matted, and restored all of the objects in this exhibition, if required. The Service Department is open to the public by appointment, Tuesday through Saturday from 10:00 a.m. to 6:00 p.m. Tel: (212) 744 3392; fax (212) 744 1525; email: [email protected]. ANISFELD, Boris Israelevich 1879 – 1973 Russian School SEASCAPE IN CAPRI, circa 1911 Gouache and watercolor on medium weight wove watercolor paper. No watermark. 14” x 19 7/8” (35.3 x 50.6 cm). Signed at lower right: Boris Anisfeld. On verso circular blue label, inscribed: 6 or 9. Note: The composition of the present watercolor, with its high viewpoint and the geometric forms of color spots resembles very strongly a painting Sea and Rocks Capri II of 1911. In the summer of 1911, Anisfeld spent several weeks in Capri, creating at least eight works in different media.