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The Paintings and Sculpture Given to the Nation by Mr. Kress and Mr
e. FOR IMMEDIATE RELEASE THE COLLECTIONS OF THE NATIONAL GALLERY OF ART \YASHINGTON The National Gallery will open to the public on March 18, 1941. For the first time, the Mellon Collection, deeded to the Nation in 1937, and the Kress Collection, given in 1939, will be shown. Both collections are devoted exclusively to painting and sculpture. The Mellon Collection covers the principal European schools from about the year 1200 to the early XIX Century, and includes also a number of early American portraits. The Kress Collection exhibits only Italian painting and sculpture and illustrates the complete development of the Italian schools from the early XIII Century in Florence, Siena, and Rome to the last creative moment in Venice at the end of the XVIII Century. V.'hile these two great collections will occupy a large number of galleries, ample space has been left for future development. Mr. Joseph E. Videner has recently announced that the Videner Collection is destined for the National Gallery and it is expected that other gifts will soon be added to the National Collection. Even at the present time, the collections in scope and quality will make the National Gallery one of the richest treasure houses of art in the wor 1 d. The paintings and sculpture given to the Nation by Mr. Kress and Mr. Mellon have been acquired from some of -2- the most famous private collections abroad; the Dreyfus Collection in Paris, the Barberini Collection in Rome, the Benson Collection in London, the Giovanelli Collection in Venice, to mention only a few. -
The Master of the Unruly Children and His Artistic and Creative Identities
The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works. -
Michelangelo's Locations
1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia. -
Art Historic Rapport
15 SOUTH NETHERLANDISH MASTER Antwerp Mannerism, second half of the 16th century Christ bearing the Cross Oak, carved in high relief H. 43 cm. W. 28 cm. D. 13 cm. PROVENANCE Private collection, Brussels, Belgium his impressive sculpture depicts one of the most popular stations form the Passion TCycle: Christ bearing the Cross. In the centre of the composition, Christ is depicted wearing a long, heavy shroud through which his anatomy is clearly viable. On his head he wears the Crown of Thorns. He carries the Cross over his left shoulder. His upper body and arms are tied with ropes. Christ is flanked by two Roman soldiers wearing Classical styled armour, referring to Ancient Rome. The group is composed moving to the right. The soldier who is leading Christ forward holds a knotted rope in his left hand that runs down from Christ’s shoulders over the soldier’s upper leg and a beating-bat in the hand of his twisted right arm. The soldier wears an outstandingly composed helmet that covers most of his face. Visible are his sharp nose and pointy beard, which lend him sturdy features. The soldier who is standing behind Christ wears a feathered Roman helmet together with an impressive suit of armour, which is embellished with elegant decorations in high relief, featuring a Fig.1. Detail striking grotesque1 on his chest. This soldier holds a bat is his right hand, ready to strike. His muscular body and his powerful, violent pose together with ART HISTORIC SIGNIFICANCE his mocking facial expression, form a remarkable contrast with the solemn and submissive pose of This group is a clear expression of Mannerism: the Christ. -
Western Painting Renaissance I Eastern Europe / Western Europe
Introduction to Art Historical Research: Western Painting Renaissance I NTNU Graduate Institute of Art History September 23th 2009 ©2009 Dr Valentin Nussbaum, Associate Professor Eastern Europe / Western Europe •! Cult of images (icons) •! Culte of relics •! During the Middle Ages, images in Western Europe have a didactical purpose. They are pedagogical tools Conques, Abbatiale Sainte-Foy, Portail occidental, deuxième quart du 12ème s. 1 San Gimignano, view of the towers erected during the struggles between Ghelphs and Ghibellines factions (supporting respectively the Pope and the Holy Roman Emperor, ca. 1300 Bologne, The Asinelli and Garisenda Towers (height 98 metres) , 13th C. 2 Escorial. Codex T.I.1, fol. 50, Cantigas of Alfonso I, 13th C. Siena, Piazza del Campo with the Public Palace 3 Siena, (the Duomo (Cathedral and the Piazza del Campo with the Public Palace) Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionale, Siena 4 Ambrogio Lorenzetti, Altarpiece of St Proculus, 1332, 167 x 56 cm central panel and 145 x 43 cm each side panels, Galleria degli Uffizi, Florence Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels), Pinacoteca Nazionae, Siena 5 Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionae, Siena Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels), -
Painting in Renaissance Siena
Figure r6 . Vecchietta. The Resurrection. Figure I7. Donatello. The Blood of the Redeemer. Spedale Maestri, Torrita The Frick Collection, New York the Redeemer (fig. I?), in the Spedale Maestri in Torrita, southeast of Siena, was, in fact, the common source for Vecchietta and Francesco di Giorgio. The work is generally dated to the 1430s and has been associated, conjecturally, with Donatello's tabernacle for Saint Peter's in Rome. 16 However, it was first mentioned in the nirieteenth century, when it adorned the fa<;ade of the church of the Madonna della Neve in Torrita, and it is difficult not to believe that the relief was deposited in that provincial outpost of Sienese territory following modifications in the cathedral of Siena in the seventeenth or eighteenth century. A date for the relief in the late I4 5os is not impossible. There is, in any event, a curious similarity between Donatello's inclusion of two youthful angels standing on the edge of the lunette to frame the composition and Vecchietta's introduction of two adoring angels on rocky mounds in his Resurrection. It may be said with little exaggeration that in Siena Donatello provided the seeds and Pius II the eli mate for the dominating style in the last four decades of the century. The altarpieces commissioned for Pienza Cathedral(see fig. IS, I8) are the first to utilize standard, Renaissance frames-obviously in con formity with the wishes of Pius and his Florentine architect-although only two of the "illustrious Si enese artists," 17 Vecchietta and Matteo di Giovanni, succeeded in rising to the occasion, while Sano di Pietro and Giovanni di Paolo attempted, unsuccessfully, to adapt their flat, Gothic figures to an uncon genial format. -
The London Old Masters Market and Modern British Painting (1900–14)
Chapter 4 (Inter)national Art: The London Old Masters Market and Modern British Painting (1900–14) Barbara Pezzini Introduction: Conflicting National Canons In his popular and successful essay Reflections on British Painting, an el- derly Roger Fry—who died in September 1934, the same year of this essay’s publication—criticised the art-historical use of a concept closely related to na- tionalism: patriotism.1 For Fry the critical appreciation of works of art should be detached from geographical allegiances and instead devoted ‘towards an ideal end’ that had ‘nothing to do with the boundaries between nations.’ Fry also minimised the historical importance of British art, declaring it ‘a minor school.’2 According to Fry, British artists failed to recognise a higher purpose in their art and thus produced works that merely satisfied their immediate con- temporaries instead of serving ‘posterity and mankind at large.’3 Their formal choices—which tended towards the linear and generally showed an absence of the plastic awareness and sculptural qualities of other European art, especially Italian—were also considered by Fry to be a serious limitation. Fry’s remarks concerning patriotism in art were directed against the aggressive political na- tionalism of the 1930s, but the ideas behind them had long been debated. They were, in fact, a development of earlier formalist ideas shared in part by other writers of the Bloomsbury set and popularised by Clive Bell’s 1914 discussion of ‘significant form.’4 For Fry, as for Bell, there was a positive lineage to be found in art, a stylistic continuum that passed from Giotto through Poussin to arrive to Cézanne. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Giulio Cesare Procaccini (Bologna 1574 – Milan 1625)
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Giulio Cesare Procaccini (Bologna 1574 – Milan 1625) The Adoration of the Magi Signed “G.C.P” (lower right) Oil on canvas 84 ¼ x 56 ¾ in. (214 x 144 cm.) Provenance Commissioned by Pedro de Toledo Osorio, 5th Marquis of Villafranca del Bierzo (Naples, 6 September 1546 – 17 July 1627), and by direct decent until 2017. This present painting by Giulio Cesare Procaccini, one of the most important painters in seventeenth-century Lombardy, is a significant rediscovery and a major addition to his oeuvre. Amidst a sumptuous architectural background, the Virgin sits at the centre of the scene, tenderly holding Jesus in her arms. She offers the Child’s foot to the oldest of the Magi, so that he can kiss it. The kings attributes of power, the crown and sceptre, lay in the foreground on the right, with his entire attention turned to worshiping the baby. Simultaneously, he offers Jesus a precious golden urn. Next to Mary are several figures attending the event. On the right, a dark- skinned king leans towards the centre of the composition holding an urn with incense. On the opposite side, the third king holds a box containing myrrh and looks upwards to the sky. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. -
MADONNA a Fordítás Az Alábbi Kiadás Alapján Készült: Discovering the Zodiac in the Raphael Madonna Series
Brian Gray MADONNA A fordítás az alábbi kiadás alapján készült: Discovering the Zodiac in the Raphael Madonna Series Copyright © 2013 by Brian Gray and Wynstones Press. All rights reserved. Brian Gray Published by Wynstones Press 2013 A fordítás és a kiadás a kiadó engedélyével történt. Fordítás és magyar változat © Casparus Kiadó Kft. 2017. Minden jog fenntartva. Hungarian translation and edition © Casparus Kiadó Kft. 2017. All rights reserved. MADONNA A könyv – a kiadó írásos engedélye nélkül – sem egészében, sem részleteiben nem sokszorosítható vagy közölhető, semmilyen formában és értelemben, elektronikus vagy mechanikus módon, beleértve a nyilvános előadást vagy tanfolyamot, a hangoskönyvet, bármilyen internetes közlést, a fénymásolást, a rögzítést vagy az információrögzítés bármilyen formáját. Felelős kiadó: a Casparus Kiadó Kft. ügyvezetője. © 2017 Casparus Kiadó Kft. 2083 Solymár, Külső Vasút utca 3368/3. A zodiákus felfedezése Raffaello Madonna-sorozatában www.casparus.hu madonna.casparus.hu Első kiadás Discovering the Zodiac in the Raphael Madonna Series Szerkesztette és magyarra fordította: Balázs Árpád Magyar nyelvi lektor: Dankovics Atilla Német fordítás: Filinger Szilárd Die Entdeckung des Tierkreises in Raffaels Madonnen-Serie Német nyelvi lektor: Harald Kallinger A német nyelvű szöveg gondozásában részt vettek: Juhász Zsanett, Malomsoky Ildikó, Márta-Tóth Jolán Orosz fordítás: Olga Knyazeva Az orosz szöveget gondozta: Dmitry Dzyubenko Проявление Зодиака в ряде Мадонн Рафаэля Tördelés és tipográfia: Korcsmáros Gábor Képek jegyzéke: 25. oldal: Sixtus-Madonna (Photo by VCG Wilson/Corbis via Getty Images) 31. oldal: A szép kertésznő (Photo by Fine Art Images/Heritage Images/Getty Images) 35. oldal: Alba herceg Madonnája (Photo by VCG Wilson/Corbis via Getty Images) 39. oldal: Alba herceg Madonnája (részlet) (Photo by VCG Wilson/Corbis via Getty Images) 43. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.