DOCSLIB.ORG

Summer 2018 Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Summer 2018 Catalogue Cover 165 x 220mm for 150gsm Artic Volume (165mic) - 64 + 6 pages SUMMER 2018 www.londonartweek.co.uk london art week art london 40 GALLERIES 3 AUCTION HOUSES 5‚000 YEARS OF ART IN MAYFAIR & ST JAMES’S summer 2018 sponsors @londonartweek_ londonartweek londonartweek LAW Cover 2018_FINAL.indd 1 26/04/2018 14:09 2018SuMMer 29 June to 6 July 2018 Opening Night 28 June, 3–8 pm Galleries Friday 29 June – Friday 6 July, 10 am – 6 pm Saturday and Sunday 30 June, 1 July, 11 am – 5 pm Tuesday 3 July late evening until 9 pm Check website for participating galleries auction houses Friday 29 June – Friday 6 July, 9 am – 5 pm Saturday and Sunday 30 June, 1 July, 11 am – 5 pm For auction viewing and sale times, please consult the auction house Front cover Please visit the website to subscribe and Anne-Louis Girodet de Roussy-Trioson, called Girodet-Trioson Portrait of Général for information about news and events Auguste Bertin de Veaux (1799–1879), aged eighteen years (detail) Courtesy of Didier Aaron www.londonartweek.co.uk Jan Van Kessel the Elder, Study of Insects with a Flower of Borago Officinalis (detail) @ Courtesy of Caretto & Occhinegro mail londonartweek.co.uk Juan Gris, Nature morte à la guitare (detail) Courtesy of Artur Ramon Art diary date back cover Pompeo Marchesi The Genius of the Hunt LONDON ART WEEK WINTER 2018 (detail) Courtesy of Trinity Fine Art 29 November – 7 December England, London, circa 1400 Saint Mary Magdalene and a Bearded Prophet (detail) Courtesy of Sam Fogg Henry Hoppner Meyer The Young Catechist (detail) Courtesy of Ben Elwes Fine Art @londonartweek_ londonartweek londonartweek 01-07 LAW REVISED 26_4.indd 1 26/04/2018 13:30 partners Master Drawings New York art suppliers See londonartweek.co.uk for more details MartinSPeed rUPert HarriS COnServatiOn ltd www.martinspeed.com www.rupertharris.com SiMOn Brady art SHiPPing teaM www.simonbradyart.jimdo.com [email protected] 01-07 LAW REVISED 26_4.indd 2 26/04/2018 13:30 sponsors tectuS inSurance presents a new, unique concept for private collectors, dealers, musicians, galleries and museums. We are not trying to reinvent the wheel but our product is simpler and more flexible than any other presently on the market. Our policies are formulated on an individual and confidential basis and at a highly competitive cost. www.tectusbrokers.com Founded in 1715 and based in Lincoln’s Inn, Hunters operate at the heart of legal London. They offer a wide range of services to individuals, businesses, trusts, landed estates and charities who expect a high level of personal service and expertise. Hunters share their clients’ passion for art and are recognised as leaders in the field of art and cultural heritage law, bringing their experience and expertise to bear when clients undertake transactions or are involved in disputes in both the UK and international art markets. With team members involved in the Treasure Valuation Committee and Art Resolve, they offer a specialist and diverse legal service that is acknowledged in the top legal directories. Hunters are proud to have an extensive international network of trusted professional advisers and art experts to help serve their clients’ needs. www.hunters-solicitors.co.uk 01-07 LAW REVISED 26_4.indd 3 26/04/2018 13:30 INTRODUCTION lUke SySOn iriS and B gerald CantOr CHairMan European Sculpture and Decorative Arts The Metropolitan Museum of Art, New York useums and galleries need several different sources of energy if they are to thrive, if they are to be more than M mausolea of the tastes of the past. We are constantly on the hunt for talented curators, enlightened supporters, beautiful spaces and compelling exhibitions. But, in the end, nothing matters more than the collections themselves. Works of art are our life blood, and their acquisition ensures that our story – the story of art – can grow and evolve. To buy a work of art is to identify a piece of the ever-expanding jigsaw puzzle of our creativity. Like collectors everywhere, we buy with our eyes and our minds both. We need to feel the power of a sculpture or a drawing or of a piece of pottery. And at the same time we need to consider its significance, to think hard about what story it tells. That can be about the celebration of a great acknowledged talent – a task that should never be neglected or underestimated. And it can be about the joy of the unfamiliar. It’s always wonderful to vault the fence of the existing canon to discover pastures new. Expertise is essential but so is an open heart. ‘Knowledge It’s that treasure trove of recognized masterpieces and comes with works by lesser known talents that makes London Art Week so special. Twice a year, we are encouraged to embark on discovery.’ a voyage of discovery, to take an aesthetic journey that takes in both wonderfully safe harbours and fascinatingly uncharted territories. Our dealer colleagues are often ahead of the game in seeing quality in categories that have traditionally been neglected. The new can be constantly discovered in the past – and I’m always excited by encountering a (to me) 4 01-07 LAW REVISED 26_4.indd 4 26/04/2018 13:30 unknown name or an unexpected facet to an established figure. Knowledge comes with discovery. It can’t and shouldn’t always be prior. How otherwise will our perceptions expand? I sometimes hear the lament that all the great works of art are now in museums and so it’s hard to find masterpieces. In the first place that’s just not true. More than six years at the Met has taught me that. Great dealers spot things. They track them down. And, by so doing, they discover for us works of art that are sometimes as remarkable as anything we already own. It’s a great source of pride that as I return each art season to my native city, I see displayed exactly what can be achieved by talented, questing art dealers chasing down works of art for a demanding, discriminating and, I think, increasingly inquiring body of collectors, inside and outside museums. THE MET DOES MODERN ON MADISON THE MET BREUER LIKE LIFE SCULPTURE, COLOR, AND THE BODY THROUGH JULY 22 metmuseum.org #MetLikeLife 945 Madison Ave. at 75th St., NYC The exhibition is supported in part by Willem Danielsz van Tetrode, Hercules (detail), the Jane and Robert Carroll Fund and ca. 1545–60. The Quentin Foundation, London. The Modern Circle. Photo: Maggie Nimkin, New York. 5 01-07 LAW REVISED 26_4.indd 5 26/04/2018 13:30 9 April – 29 July 2018 75 paintings by Monet together for the very first time We recommend you book ahead online Members go free Claude Monet, The Grand Canal (detail), 1908 © Fine Arts Museums of San Francisco. Gift of Osgood Hooker 1960.29 01-07 LAW REVISED 26_4.indd 6 26/04/2018 13:30 Didier Aaron Clifford House 15 Clifford Street London w1S 4jy www.didieraaron.com [email protected] +44 (0)20 7534 9100 contact Marc Fecker map 9 exhibition title Master Drawings from the 17th to the 19th centuries Founded in 1923, the gallery has been in business for three generations and is now directed from New York by Hervé Aaron. To enable a closer relationship with its clients, the gallery is also represented at prestigious locations in Paris and London. At its three locations, important works of art of the seventeenth, eighteenth anne-louiS girodet Portrait of Général Auguste Bertin de Veaux and nineteenth centuries are displayed, de rouSSy-trioSon, (1799–1879), aged eighteen years and among the gallery’s clients are some called girodet-trioSon Black and white chalk with stumping of the greatest museums worldwide. (1767 – 1824) 218 � 175 mm Signed with initials and dated: GT/ mars 1817 Inscribed on the cartouche: Girodet / général Bertin de Vaux hubert robert (1733 – 1808) Two figures conversing before the Temple of the Sybil, c.1775 Red chalk 290 � 368 mm 7 01-07 LAW REVISED 26_4.indd 7 26/04/2018 13:30 Antonacci Lapiccirella Fine Art At M&L Fine Art 15 Old Bond Street London w1s 4ax [email protected] www.alfineart.com +39 3356693181 / +39 3356148588 contacts Francesca Antonacci Damiano Lapiccirella map 16 exhibition title Italian Paintings through five centuries Francesca Antonacci Damiano Lapiccirella antonio canova (1757 – 1822) jacopo robusti, Fine Art is the result of a merger between The Self-Portrait of Giorgione called il tintoretto two old-established antique galleries based Oil on wood, 72.5 � 64 cm (1518 – 1594) in Rome, London and Florence respectively, Carved and gilded wooden frame, Susanna both leading lights in the world of Italian and Rome 1792 Oil on panel, 27 � 38 cm international collecting since the early 1900s. The gallery, which specialises in master paintings and drawings from the late 18th to the early 20th century, focuses in particular on the Grand Tour and on Neo-Classical sculpture, numbering some of the world’s leading museums, such as the National Gallery in Washington, the Getty Museum in Los Angeles, the National Gallery of Canada in Ottawa, the Hamburger Kunsthalle, the Musée d’Orsay, the Uffizi Gallery, and most discerning collectors among its clients. It shows at the most prestigious International Art fairs including: TEFAF, Maastricht; the Salon du Dessin, Paris; the Biennale des Antiquaires, Paris; Fine Art Paris; and the Florence Biennale. 8 08-64 LAW REVISED 26_4.indd 8 26/04/2018 14:26 With the main premises in via Margutta Galleria W. Apolloni and another showroom in via del Babuino, W.
Load more

Recommended publications
  • The Rubenianum Quarterly
    2012 The Rubenianum Quarterly 4 Rubens House and Rubenianum host important heritage event Dear Friends of the Rubenianum, On 18 October, the Rubens House and the Rubenianum were honoured by a Looking back at 2012, we can only memorable event, including a princely visit. On that evening, the King Baudouin be pleased at the momentum that the Foundation organized the annual festive gathering of its numerous heritage funds and Rubenianum community has gained their representatives. Given the recent collaborations between the Foundation and both the Rubens House and the Rubenianum, Antwerp served as an obvious location in the course of the past year: the for this year’s event. publication of a new Corpus volume; The meeting was preceded by a private visit of HRH Prince Lorenz, Patron of an intensified cooperation between the Heritage Fund of the King Baudouin Foundation. Under the expert guidance the Rubenianum and the RKD in of its curator Ben van Beneden, the Prince paid an extensive visit to the recently enriched Rubens House collection. After this visit, the intimate atmosphere of The Hague on the one hand and with the Kolveniershof’s attic offered a suitable setting for an exclusive viewing of the Antwerp’s Koninklijk Museum voor de Ganay Manuscript. This fascinating album is one of four known copies after the Schone Kunsten on the other; the lost theoretical notebook of Peter Paul Rubens. Purchased at the beginning of 2012 growing popularity of the Rubenianum by the King Baudouin Foundation, it was given on long-term loan to the Rubens lectures; the increased recognition from House.
    [Show full text]
  • NGA | 2017 Annual Report
    N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
    [Show full text]
  • Peter Bruegel the Elder
    PETER BRUEGEL THE ELDER Pieter Bruegel the Elder 1525–1530) was the most significant artist of Dutch and Flemish Renaiss- ance painting, a painter and printmaker, known for his landscapes and peasant scenes; he was a pioneer in making both types of subject the focus in large paintings. He was a formative influence on Dutch Golden Age painting and later painting in general in his innovative choices of subject matter, as one of the first generation of artists to grow up when religious subjects had ceased to be the natural subject matter of painting. He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp, where he worked mainly as a prolific designer of prints for the leading publisher of the day. Only towards the end of the decade did he switch to make painting his main medium, and all his famous paintings come from the following period of little more than a decade before his early death, when he was probably in his early forties, and at the height of his powers. As well as looking forwards, his art reinvigorates medieval subjects such as marginal drolleries of ordinary life in illuminated manu- scripts, and the calendar scenes of agricultural labours set in land- scape backgrounds, and puts these on a much larger scale than before, and in the expensive medium of oil painting. He does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. Pieter Bruegel specialized in genre paintings populated by peasants, often with a landscape element, though he also painted religious works.
    [Show full text]
  • National Gallery of Art
    National Gallery' «/ of '' Art "* Information Officer, Deborah Ziska FOR IMMEDIATE RELEASE CONTACT: (202) 842-6353 January 14, 1999 Patricia O'Connell, Publicist EXQUISITE DUTCH AND FLEMISH FLOWER STILL LIFES ON VIEW AT NATIONAL GALLERY OF ART. JANUARY 31 - MAY 31. 1999 Washington, D.C. -- The beauty of exotic flowers and discoveries in science and botany are celebrated in an exhibition of sixteenth- and seventeenth-century Dutch and Flemish flower still-life paintings, watercolors, manuscripts, and botanical books. On view in the National Gallery of Art's West Building Dutch Cabinet Galleries, January 31 - May 31, 1999, From Botany to Bouquets: Flowers in Northern Art presents sixty-one works by many of the greatest still-life artists of the period. These include Ambrosius Bosschaert the Elder (1573-1621), Roelandt Savery (1576-1639), Jan Brueghel the Elder (1568-1625), Jan Davidsz. de Heem (1606-1683/1684), and Jan van Huysum (1682-1749). Works have been loaned by both private and public collections, including those of Mrs. Paul Mellon, Dumbarton Oaks, and the Folger Shakespeare Library. The exhibition is made possible by a generous contribution from Shell Oil Company Foundation. "The concept of flowers as works of art only evolved at the end of the sixteenth century when rare and exotic flowers were being collected with particular passion in - more - Fourth Street at Constitution Avenue, N.W., Washington, D.C. 20565 (202) 842-6353, Facsimile (202) 842-2403 flowers in northern art ... page 2 The Netherlands," said Earl A. Powell III, director, National Gallery of Art. "The works in this exhibition reveal the fascinating character of Dutch and Flemish flower painting, which delights us both for its realism and its suggestive symbolism.
    [Show full text]
  • November 2014 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 31, No. 2 November 2014 Jacob Jordaens, Merry Company, c. 1644. Watercolor over black chalk, heightened with white gouache, 21.9 x 23.8 cm. The J. Paul Getty Museum, Los Angeles. Exhibited at The Getty Center, Los Angeles, October 14, 2014 – January 11, 2015. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – Dawn Odell Lewis and Clark College 0615 SW Palatine Hill Road Portland OR 97219-7899 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 HNA News ............................................................................1 Lloyd DeWitt (2012-2016) Stephanie Dickey (2013-2017) Personalia ............................................................................... 4 Martha Hollander (2012-2016) Boston Conference Photos ....................................................5 Walter Melion (2014-2018) Exhibitions .........................................................................
    [Show full text]
  • JAN VAN KESSEL the ELDER (1626 – Antwerp - 1679)
    CS0316 JAN VAN KESSEL THE ELDER (1626 – Antwerp - 1679) A Bouquet of Flowers in a glass Vase Signed, lower right: J. van Kessel f On copper, 11½ x 9 ½ ins. (29.2 x 24.1 cm) With an Ecce Homo on the reverse PROVENANCE Sale, Christie’s, London, 8 July 2008, lot 36, where purchased by the present owner Private collection, New York, 2017 LITERATURE K. Ertz & C. Nitze Ertz, Die Maler Jan van Kessel, Lingen, 2012, p. 319, no. 539, reproduced NOTE We are grateful to Dr. Fred G. Meijer, Senior Curator, Department of Old Netherlandish Painting, Netherlands Institute for Art History (RKD), The Hague, for confirming the attribution after seeing the picture in the original and dating it to circa 1650-55. A bouquet of flowers appears in a simple glass vase, standing on a pedestal, before a dark background. The graceful arrangement is comprised of two striped tulips, an iris and three pink roses, interspersed with blue convolvulus, a marigold and sprays of citrus foliage bearing creamy white blossom and small unripe fruits. Two butterflies, a damselfly, a beetle and caterpillar are attracted by the fragrant blooms. A fallen leaf rests at the foot of the vase. A member of the Brueghel dynasty, Jan van Kessel was born and trained in Antwerp. He was the grandson of Jan Brueghel the Elder (1568-1625), and nephew of Jan Brueghel the Younger (1601-1678). After serving an apprenticeship with Simon de Vos (1603-1676), he completed his artistic education in the workshop of his uncle Jan Brueghel the Younger.
    [Show full text]
  • Catalogue Ii Collections of Old Master Paintings
    Jan van Kessel the Elder 1626 – 1679 CATALOGUE II COLLECTIONS OF OLD MASTER PAINTINGS AUKTIONEN /AUCTIONS: KATALOG DONNERSTAG, 10. & FREITAG, 11. DEZEMBER 2015 CATALOGUE Besichtigung: Freitag, 4. – Mittwoch, 9. Dezember 2015 II THURSDAY 10 & FRIDAY 11 DECEMBER 2015 DONNERSTAG Exhibition: Friday 4 – Wednesday 9 December 2015 THURSDAY KATALOG I — CATALOGUE I DEZEMBER-AUKTIONEN DONNERSTAG, 10. UND FREITAG, 11. DEZEMBER 2015 DECEMBER AUCTIONS THURSDAY 10 AND FRIDAY 11 DECEMBER 2015 KATALOG II 10. DEZEMBER 2015 CATALOGUE II 10 DECEMBER 2015 AUKTIONATOREN AUKTIONSTAGE AUCTION DAYS Dipl. Kfm. Holger Hampel Donnerstag, 10. Dezember 2015 Thursday 10 December 2015 Geschäftsführender Gesellschafter Beginn 10:00 Uhr Starting 10:00 am öffentlich bestellter und vereidigter Auktionator Freitag, 11. Dezember 2015 Friday 11 December 2015 Beginn 10:00 Uhr Starting 10:00 am Vitus Graupner Geschäftsführender Gesellschafter VORBESICHTIGUNG EXHIBITION Freitag 4. Dezember 10 – 17 Uhr Friday 4 December 10 am – 5 pm [email protected] Tel: +49 (0)89 28 804 - 0 (Zentrale) Samstag 5. Dezember 10 – 17 Uhr Saturday 5 December 10 am – 5 pm Sonntag 6. Dezember 10 – 17 Uhr Sunday 6 December 10 am – 5 pm Montag 7. Dezember 10 – 17 Uhr Monday 7 December 10 am – 5 pm Dr. Kristina Krüger Dienstag 8. Dezember 10 – 17 Uhr Tuesday 8 December 10 am – 5 pm [email protected] Mittwoch 9. Dezember 9 – 12 Uhr Wednesday 9 December 9 am – 12 pm Tel: +49 (0)89 28 804 - 0 (Zentrale) Rieke Kreitz [email protected] INFORMATIONEN Tel: +49 (0)89 28 804 - 0 (Zentrale) Hampel Fine Art Auctions GmbH & Co. KG Schellingstr.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 FOR IMMEDIATE RELEASE CONTACT: Deborah Ziska Elizabeth Kijnball 202/842-6353 NATIONAL GALLERY OF ART TO PRESENT RARE DUTCH, FLEMISH, AND GERMAN STILL LIFES FROM THE HEINZ FAMILY CDLLECTION WASHINGTON, D.C., March 8, 1989 - The National Gallery of Art will present Still Lifes of the Golden Age; Northern European Paintings from the Heinz Family Collection in the East Building, May 14 - September 4, 1989. The exhibition, organized by the National Gallery, includes forty-four paintings from one of the largest private collections of rare Dutch, Flemish, and German still lifes from the late sixteenth- to early eighteenth-century. The paintings in the exhibition were collected by the family of U.S. Senator and Mrs. H. John Heinz III (PA). Because many of the works have always been privately owned and have never been exhibited, they are little known to the public. The collection, which now numbers more than seventy paintings, is unique for its wide range of still-life specialists for whom few paintings and little documentation have survived. "We are grateful to the Heinz family for allowing us to present a selection of their remarkable collection. Northern European still lifes hold a special appeal for Americans, beginning with the nineteenth-century American still-life painters who admired their realism and technical virtuosity," said J. Carter Brown, director of the National Gallery of Art. -more- page two . heinz collection Still Lifes of the Golden Age represents the full range of still lifes in the Heinz Family Collection.
    [Show full text]
  • Jan Van Kessel I. Catalogs and Painting: Redefining the Role of Animals in Seventeenth-Century Fish Landscapes
    San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2021 Jan van Kessel I. Catalogs and Painting: Redefining the Role of Animals in Seventeenth-Century Fish Landscapes. Ana Borlas-Ivern San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Borlas-Ivern, Ana, "Jan van Kessel I. Catalogs and Painting: Redefining the Role of Animals in Seventeenth-Century Fish Landscapes." (2021). Master's Theses. 5175. DOI: https://doi.org/10.31979/etd.9bux-8w9d https://scholarworks.sjsu.edu/etd_theses/5175 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. JAN VAN KESSEL I. CATALOGS AND PAINTING: REDEFINING THE ROLE OF ANIMALS IN SEVENTEENTH-CENTURY FISH LANDSCAPES A Thesis Presented to The Faculty of the Department of Art and Art History San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Ana GS Borlas-Ivern May 2021 © 2021 Ana GS Borlas-Ivern ALL RIGHTS RESERVED ii The Designated Thesis Committee Approves the Thesis Titled JAN VAN KESSEL I. CATALOGS AND PAINTING: REDEFINING THE ROLE OF ANIMALS IN SEVENTEENTH-CENTURY FISH LANDSCAPES by Ana GS Borlas-Ivern APPROVED FOR THE DEPARTMENT OF ART AND ART HISTORY SAN JOSÉ STATE UNIVERSITY May 2021 Dr. Anne Simonson Department of Art and Art History Dr. Christy Junkerman Department of Art and Art History Dr.
    [Show full text]
  • THE EXOTIC GIFT and the ART of the SEVENTEENTH-CENTURY DUTCH REPUBLIC By
    THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC By ©2013 ELLEN O’NEIL RIFE Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. ________________________________ Sally J. Cornelison, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Amy McNair, Ph.D. ________________________________ William D. Keel, Ph.D. Date Defended: 4/9/2013 The Dissertation Committee for Ellen O’Neil Rife certifies that this is the approved version of the following dissertation: THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. Date approved: 4/9/2013 ii Abstract This dissertation examines the intersection between art and the gifting of exotic objects in the seventeenth-century United Provinces, directing attention to a special class of imagery visualizing the remarkable extent to which Europe’s first consumer culture became intertwined with foreign goods and influences. Its four chapters present representative case studies encompassing a range of media, including prints and paintings, and artistic genres, such as still life, portraiture, landscape, and allegory, from the mid- through the late- seventeenth century. These episodes of exotic gift exchange and their manifestation in art belonged to public and private spheres, the gifting of men and women, and multiple classes of society. In analyzing these images, my methodology draws on close readings; socioeconomic, historical, pictorial, and cultural contexts; gender; and issues in gift theory, including reciprocity, identity, personalization, and commodity/gift status, to explore the pictures’ meanings or functions for their audiences.
    [Show full text]
  • Cover Page the Handle Holds Various Files of This Leiden University Dissertation. Author: Rikke
    Cover Page The handle http://hdl.handle.net/1887/40617 holds various files of this Leiden University dissertation. Author: Rikken, M.E. Title: Dieren verbeeld. Diervoorstellingen in tekeningen, prenten en schilderijen door kunstenaars uit de Zuidelijke Nederlanden tussen 1550 en 1630 Issue Date: 2016-06-23 Hoofdstuk 7: Slotbeschouwing In deze studie heb ik de ontwikkeling van de Zuid-Nederlandse diervoorstelling tot een zelfstandig genre in de kunst onderzocht om inzicht te krijgen in de productie, functie en betekenis van diervoorstellingen. In de inleiding zijn drie belangrijke aspecten voor dit genre – de intermedialiteit, de relatie met kennis over de natuurlijke historie en de relatie met de verzamelcultuur van naturalia – centraal gesteld. Deze specifieke aspecten van het genre vormden de onderliggende thema’s bij het onderzoek. Om deze thema’s te bestuderen, heb ik veelvuldig gebruik gemaakt van de door mij samengestelde databases, wat zeer vruchtbaar is gebleken om bepaalde patronen te ontdekken en te analyseren. Zo kon de ontlening van motieven goed in kaart worden gebracht. Uit de grote schaal waarop motieven werden gekopieerd, viel af te leiden dat ze circuleerden binnen een netwerk van Antwerpse animalisten. Niet alle kunstenaars die dezelfde motieven verbeeldden stonden direct in onderling contact met elkaar. Abraham Ortelius bleek als sleutelfiguur gefunctioneerd te hebben; dit was zonder het in kaart brengen van de motiefovernames en het netwerk onzichtbaar gebleven. Ook kon met behulp van de databases worden achterhaald welke net ontdekte en zeldzame exotische dieren in de eerste drie decennia van de zeventiende eeuw door bepaalde kunstenaars werden verbeeld. De verschillen die hieruit naar voren kwamen, waren te verklaren door de verschillende hoven waaraan kunstenaars verbonden waren.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Flámska apokalypsa - Apokalypsa flámska flámska gotika - flámska a burgundská tvorba 15.st. s príznačnými ostro lomenými, dramatickými záhybmi plášťov; pozri štýl lámaný flámska história - http://en.wikipedia.org/wiki/Category:History_of_Flanders flámska renesancia - pozri flámski primitívi http://fr.wikipedia.org/wiki/Renaissance_flamande http://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries flámska škola - škola maľby, ktorá sa vyvinula v Holandsku od renesancie do počiatkov baroka; zahrnuje flámskych primitívov (1400-1500), flámsku renesanciu (1500-1584) a holandský zlatý vek maľby zo 17.st.; patrí sem mnoho maliarov, sochárov a architektov, z ktorých sú najznámejší Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael, Antoon van Dyck a Jan Steen http://fr.wikipedia.org/wiki/École_hollandaise flámske maliarstvo - samostatný výtvarný prejav charakteristický pre južné provincie Flámska od 15.st. (J.van Dyck, R.van Weyden, Majster z Flémale); v 16.-17.st. vytvorený typický barokový exaltovaný flámsky prejav, ktorý svoj vrchol našiel v diele Rubensa; v jeho dielni pod vedením A.van Dycka, ktorý svojou portrétnou tvorbou ovplyvnil anglickú maľbu, patrili Rubensovi žiaci J.Jordaens (žáner, religiózne a mytologické obrazy), F.Snyders (kvetinové a ovocné zátišia, poľovnícke zápasy), A.Brouwer a D. Teniers Ml. (žáner); krajinárstvo v dvoch smeroch: kabinetná drobnomaľba (Jan Brueghel St.) a monumentálna tzv. bruselská dekoratívna maľba; flámska žánrová maľba 17.st. zobrazovala alegórie piatich zmyslov v podobe krčmových scén s pijanmi (Chuť), fajčiarmi fajok (Čuch), rozjarenými spevákmi s huslistom (Sluch); Hmat zobrazovaný ako muž, ktorý objíma ženu okolo pása, alebo ako ránhojič púšťajúci pacientovi žilou; vo flámskom maliarstve 18.st. sa iba obmieňali vzory z predchádzajúceho obdobia, v 19.st.
    [Show full text]