George A. Lucas Papers MS.10 Finding Aid Prepared by Emily Rafferty
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The Impact of Medardo Rosso's Internationalism on His Legacy
Sharon Hecker Born on a train: the impact of Medardo Rosso’s internationalism on his legacy In 1977 and 2014, the Italian Ministry of Culture (Soprintendenza Archeologia, Belle Arti e Paesaggio) declared numerous sculptures by Medardo Rosso (1858–1928) to be of national cultural interest and therefore not exportable.1 This decree is based on the premise of Rosso’s ties to Italy, his country of birth and death, as well as on the Ministry’s belief in his relevance for Italian art, culture and history. However, Rosso’s national identity has never been secure. Today’s claims for his ‘belonging’ to Italy are complicated by his international career choices, including his emigration to Paris and naturalization as a French citizen, his declared identity as an internationalist, and his art, which defies (national) categorization.2 Italy’s legal and political notifica (literally meaning ‘notification’ or national ‘designation’), as it is termed, of Rosso’s works represents a revisionist effort to settle and claim his loyalties. Such attempts rewrite the narrative of art history, and by framing Rosso according to exclusively Italian criteria, limit the kinds of questions asked about his work. They also shed light on Italy’s complex mediations between laying claim to an emerging modernism and to a national art. This essay assesses the long-term effects of Rosso’s transnational travel upon his national reputation and legacy. I contend that Rosso, by his own design, presented himself as an outsider who did not belong to national schools and nationally defined movements of his time. This was a major factor that contributed to his modernity. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, 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: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
GIUSEPPE DE NITTIS – MY ITALY 8 Eight Works by Giuseppe De Nittis (1846 - 1884)
GIUSEPPE DE NITTIS – MY ITALY 8 Eight Works by Giuseppe De Nittis (1846 - 1884) Giuseppe De Nittis is one of the most important suing Paris Commune, so almost three years passed benign, rather than threatening, volcanic plume, is Italian painters of the nineteenth century. He took before he could return to the French capital. This certainly datable to 1871-2. In terms of handling, up his studies at the Istituto di Belle Arti in Naples enforced sojourn was nonetheless to be of critical it is a fine and characteristic example of the work but early on abandoned the academic tradition of importance to his development as a landscape art- De Nittis produced in this twelve-month period of his training. He came into contact with the group of ist. He was to produce what are almost certainly his intense artistic experimentation. The modeling of young Florentine painters known as the ‘Macchiai- most powerful and modern works in his Apulian the foreground in broad strokes of rapidly applied, oli’.1 Following their example, he began to practice home town of Barletta, in Naples and in Portici, a free-flowing paint is also entirely characteristic of plein-air painting. He moved to Paris in 1868 and village at the foot of Vesuvius. These works were his style. quickly made his name in artistic circles. In 1874, small in format and almost all were on panel. They A painting now in the collection of the India- he participated in the Impressionists’ first group show him working highly methodically towards a napolis Museum of Art titled La Strada di Brindisi exhibition staged in the studio of the photographer formal and chromatic synthesis of his techniques [The Road to Brindisi] (Fig. -
Antique Sculptures
Antique Arabian Horse S c u lPart p tu II r e s n by © Judith Wich-Wenning Antique Arabian Horse Sculptures have an ever-growing no one excelled Barye regarding the accuracy of anatomical circle of admirers and collectors around the world. Horse details and the realistic modelling of his sculptures. Barye breeders as well as people with a sense for beauty, elegance did not follow in the footsteps of other artists, he created a and art were and are fascinated by the strong aura of these movement in art of his own. antique works. The 19th century saw a group of sculptors, the so-called “Animaliers”, who specialized in the realistic Antoine-Louis Barye was born in Paris in 1796, the modelling of animals. As Orientalism and Arabian subjects son of a jeweller from Lyon. Barye began his career as a were so much “en vogue” during this time, Arabian horses goldsmith, like many sculptors of the Romantic Period. were a favourite motif. The mystical Orient bathed in a At the beginning his father taught Barye the basics, but new, unknown light, attracted a large number of artists when he was around 14 years old, Barye started to work looking for new sources of inspiration. Desert landscapes, under the goldsmith of Napoleon. Later on he studied fantasias and Oriental hunting scenes impressed people. under the famous Orientalist and painter Baron Antoine- Superb Arabian horses, their nobility, beauty and strength Jean Gros. In 1818 Barye was admitted to the important became recurring subjects exhibited at the Salons and art Ecole des Beaux Arts. -
Gallery Notes SUMMER 2016
Gallery Notes SUMMER 2016 JOHN MITCHELL FINE PAINTINGS 1 The pace of change has, if anything, quickened since our last Gallery Notes a year ago. Most importantly for us, the decline of Old Bond Street prompted us last year to move to our new premises at nearby Avery Row, thus completing the flight of established art dealers in recent years from this once elegant street. The success of our fifteenth Peaks & Glaciers exhibition earlier this year, and the favourable reaction of clients to our new first-floor space, have re-assured us that we have not strayed too far from the beaten track. We warmly invite JOHN MITCHELL FINE PAINTINGS EST 1931 our readers who haven’t yet been to do so! Meanwhile, the annual cycle of art fairs, so integral to the art trade in the last twenty DETAIL years, is in upheaval. The European Fine Art Fair in Maastricht, for years the premier Fanny Burat A garland of flowers event in the world of Old Master paintings, perhaps no longer has the cachet it once including roses, enjoyed, and its organisers have felt compelled to launch a New York version later this morning glory, an opium poppy and a year. Some argue that there are too many fairs, but it is clear that if it is a sufficiently red admiral butterfly illustrious event the aficianados , old and new, cannot afford to miss it. Masterpiece is just such a show, and in the space of a few years has become a spectacular, high- See pages 16-17 quality fair commensurate with London’s much-vaunted status as a ‘world city.’ For that reason, and because all the featured pictures will be on display on our stand (B17), we are delighted to designate this Gallery Notes our ‘Masterpiece Edition’. -
Paintings & Sculptures List – the Dining Room The
Russell-Cotes Paintings – The Dining Room Paintings & Sculptures List – The Dining Room The Fruit Seller Giuseppe Signorini (1857-1932) Watercolour, body colour and gum Arabic paper Giuseppe Signorini was an Italian painter, born in Rome, and mainly focused on orientalist subjects. He studied at the Accademia di San Luca, and then worked under Aurelio Tiratelli. He often travelled to the Paris Salon exhibitions and was influenced by the styles and orientalist themes expressed by painters like Mariano Fortuny, Ernest Meissonier, and Gérôme. He often travelled to the Maghreb for inspiration and developed a substantial collection of Islamic art and textiles. He also painted portraits in costume garb. He maintained studios in both Paris and Rome. BORGM 1995:66 The Billet Doux, 1882 William Oliver (1804-1853) Oil on canvas William Oliver was a painter of charming genre scenes, including titles such as A Thing of Beauty is a Joy Forever and The Billet Doux, and was one of the more popular Victorian artists of his time. Oliver was particularly fond of the Pyrenean area of France and Spain and completed many small Russell-Cotes Paintings – The Dining Room studies of the towns and villages in this area. Many of these small works were then purchased by the young travellers as souvenirs of their Grand Tour. While he favoured painting plein air works, he did complete a number of large and important works during his career – most of which were either created for specific exhibitions or commissions. BORGM 01686 Napoleon, 19th Century Sculptor unattributed Marble Merton Russell-Cotes cultivated people of high standing assiduously in real life as well as collecting them in the form of art works. -
Two Unpublished Palmyrene Funerary Reliefs in North American Museums
Syria Archéologie, art et histoire 89 | 2012 Varia Two unpublished Palmyrene funerary reliefs in North American museums Fred C. Albertson Electronic version URL: http://journals.openedition.org/syria/2775 DOI: 10.4000/syria.2775 ISSN: 2076-8435 Publisher IFPO - Institut français du Proche-Orient Printed version Date of publication: 1 January 2012 Number of pages: 151-162 ISBN: 9782351591963 ISSN: 0039-7946 Electronic reference Fred C. Albertson, « Two unpublished Palmyrene funerary reliefs in North American museums », Syria [Online], 89 | 2012, Online since 01 July 2016, connection on 07 June 2019. URL : http:// journals.openedition.org/syria/2775 ; DOI : 10.4000/syria.2775 © Presses IFPO TWO UNPUBLISHED PALMYRENE FUNERARY RELIEFS IN NORTH AMERICAN MUSEUMS Fred C. ALBERTSON 1 Résumé – Deux plaques de loculus en calcaire provenant de Palmyre sont publiées ici pour la première fois : un buste d’homme représentant Nûr‹ateh, fils de Rabbî, maintenant exposé au Walters Art Museum, Baltimore, et un portrait de femme inscrit [.. /Ş] Y, fille de ()abîbâ, trouvé dans la Mackenzie Art Gallery, Regina (Saskatchewan). Tous deux sont entrés aux États-Unis par l’intermédiaire d’Edgar J. Banks, un archéologue et marchand d’antiquités du début du XXe s. La datation et les rapports de ces reliefs avec un plus large corpus d’images funéraires palmyréniennes sont étudiés ici. Mots-clés – Syrie, Palmyre, relief, inscription, période romaine. Abstract – Two limestone loculus plaques from Palmyra are published here for the first time: a male bust, representing Nûr‹ateh, son of Rabbî, now in the Walters Art Museum, Baltimore, and a female of a woman inscribed [. -
The Journal of the Walters Art Museum
THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland. -
The Patronage and Collections of Louis-Philippe and Napoléon III During the Era of Queen Victoria and Prince Albert
Victoria Albert &Art & Love Victoria Albert &Art & Love The patronage and collections of Louis-Philippe and Napoléon III during the era of Queen Victoria and Prince Albert Emmanuel Starcky Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love The patronage and collections of Louis-Philippe and Napoléon III during the era of Queen Victoria and Prince Albert Emmanuel Starcky Fig. 1 Workshop of Franz Winterhalter, Portrait of Louis-Philippe (1773–1850), 1840 Oil on canvas, 233 x 167cm Compiègne, Musée national du palais Fig. 2 After Franz Winterhalter, Portrait of Napoleon III (1808–1873), 1860 Tapestry from the Gobelin manufactory, 241 x 159cm Compiègne, Musée national du palais The reputation of certain monarchs is so distorted by caricaturists as to undermine their real achievements. Such was the case with Louis-Philippe (1773–1850; fig. 1), son of Philippe Egalité, who had voted for the execution of his cousin Louis XVI, and with his successor, Napoléon III (1808–73; fig. -
Archivision Art Module D Content List
ARCHIVISION ART MODULE D 3000 photographs | images available now | data to come April 2019 CONTENT LIST CANADA Montréal Montreal Museum of Fine Arts From Africa to the Americas: Face-to-Face Picasso, Past and Present (2018 exhibition) • Unknown, Koro (Niger-Congo style); Palm-wine Bowl-figure (gbene) from Nigeria, before 1989 (7A3- AFRICAN-FAFFM-APW) • Unknown, Papua New Guinea; Barak Mask from Kairiru Island, before 1995 (7A3-AFRICAN-FAFFM- BM) • Unknown, Vanuatu; Chubwan Mask, late 19th C. (7A3-AFRICAN-FAFFM-CM) • Unknown, Berber; Cross from Algeria, before 1962 (7A3-AFRICAN-FAFFM-C) • Unknown, Baga; D’mba Mask from Guinea Coast (7A3-AFRICAN-FAFFM-DMB) • Unknown, Ejagham; Female Dance Headdress from Nigeria or Cameroon, 20th C. (7A3-AFRICAN- FAFFM-FDH) • Unknown, Kongo; Power Figure (nkisi nkondi) from Congo Region (7A3-AFRICAN-FAFFM-FDP) • Unknown, Dan (Mande style); Face Mask (gunye ge), before 1966 (7A3-AFRICAN-FAFFM-GGA) • Unknown, Ibibio; Face Mask (idiok ekpo) from Nigeria, before 1989 (7A3-AFRICAN-FAFFM-IEM) • Unknown, Senufo; Kagba Mask from Côte d'Ivoire, 20th C. (7A3-AFRICAN-FAFFM-KM) • Unknown, Baule; Kpan Pre Mask, before 1973 (7A3-AFRICAN-FAFFM-KPM) • Unknown, Galwa (Galoa); Male Figure, 1911 (7A3-AFRICAN-FAFFM-MF) • Unknown, Sakalava; Male Statue from Madagascar, early 20th C. (7A3-AFRICAN-FAFFM-MS) • Unknown; Male statue from Niger, before 1932 (7A3-AFRICAN-FAFFM-MSN) • Unknown, Papua New Guinea; Masevese Mask, 20th C. (7A3-AFRICAN-FAFFM-MMP) • Unknown, Kru; Mask, from Côte d'Ivoire (?), before 1912 (7A3-AFRICAN-FAFFM-KRU) • Unknown, Otomi; Mask, from Central Mexico, 1955 (7A3-AFRICAN-FAFFM-MBO) • Unknown, Wee (Kru-speaking culture); Mask, from Côte d'Ivoire, 1914 (7A3-AFRICAN-FAFFM-MWA) • Unknown, Native Amazonian; Mask from Kamayurá people, Brazil, 20th C. -
Military Themes in British Painting 1815 - 1914
/ Military Themes in British Painting 1815 - 1914. Joan Winifred Martin Hichberger. Submission fcr PhD. University College, London. 1985 1 Abstract. Joan Winifred Martin Hichberger. Military Themes in British Painting 1815-1914. This thesis examines the treatment of the Bzitish Army and military themes, in painting, during the period 1815- 1914. All the works discussed were exhibited at the Royal Academy, which, although it underwent modifications in status, remained the nearest equivalent to a State Institution for Art in Britain. All the paintings shown there were painted with the knowledge that they were to be seen by the controllers of the Academy and the dominant classes of society. It will be inferred then, that the paintings shown there may be taken to have been acceptable to ruling class ideologies, and are therefore instructive of "official" attitudes to military art. Representations of the contemporary Army, in this period, fell into two main catagories - battle paintings and genre depictions of soldiers. Chapters one to three survey battle paintings; studying the relation of this genre to the Academy; the relative popularity of the genre and the career patterns of its practioners. The critical reception of battle pictures at the Academy and certain important public competitions will be noted and considered in the context of contemporary ideologies about art and about the Army and its men. Chapter four discusses the vital concept of "heroism" and its treatment in English military art. In particular, the reasons for the popularity of certain military figures above their peers, in academic art, will be explored. It will be argued that the process of "hero-making" in art was not determined by professional success alone, but was often the result of the intervention of patrons, publicists and pressure groups.