DOCSLIB.ORG

Book Chapter Reference

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Book Chapter Reference Book Chapter Mauvais genres. Adriaen Brouwer et la parodie artistique au XVIIe siècle BLANC, Jan Reference BLANC, Jan. Mauvais genres. Adriaen Brouwer et la parodie artistique au XVIIe siècle. In: Les Genres picturaux. Genève : Voltiges, 2008. Available at: http://archive-ouverte.unige.ch/unige:93663 Disclaimer: layout of this document may differ from the published version. 1 / 1 Mauvais g.enre.s. M rioer. O!ùU'IICr'.Ct la p<:~ rod ÎL' arHs:tîqf4~ ·:;.u 17" siècle Il existe comme un mysti?rP. autour d~ kr c:.lHÎ,êre e~ de l'œ\IVre rl'Adri;~e•) ilfOtl'llef. Si !c vciulré ltollomJ;;i-; ~-;~ run des plus popu­ laires au lr s1ecle, t~ata m.ment aupri!s· d~~. an:fs~e(,· et des ;'lm.ne•r!S, ile!-t \ltrsst. CU(iCUrSC'ml•nl,l'ùn dc ~ri!u-; mCpri sCsparr~s lh<}oncicns de l'a,rt. Samuel ·;;u Hrxu.sl'!l.FN pari~ ~i Mi du .r..:reru)t~~ hm R r~-uwer» (! ont «il n ·y t.t ~iN'r à g~gué-r 'à •;uivfc» l'cxcmpl ~ [ 1û?8: 1!> J, l:: l prês de soixante ans ,glul'i tard, r.erard de 1'· '~ESS-E e'ie plique q !JP. l' «.)ft de peinture [ es't] um• îrniUI,l~IJ'I! _de la vit", q.•i pt:ul ~L·üui !e ou dégoüter un im e humain, 1. .. 1s i biM que $Î l'on '.'P.Ut bien -teprP.!'.~OtP.r l.'l Vie rie f.)ÇO f'l'le S.$~1'1'\b!~(I \C', ( ~1(-~ peintu re-; comme c~jl~s dL' l;irouwcrc) s~ront r.êceS- sairemP.nt contemp!P.P.s a·.·ec:_ du.clP.goût»~ -[ 1740· 1, t'7 t ]. Ce.svioiemeS-(fitilluC·:O . frét.;uénlc~ dJ I'1S les lH-Iilb d~ peinture du 17' e~ dU l 8'" si?.t:!e, !>ont pourtant sou·.,..ent tP.intê«!'. d'admirat ion. Fr. 1émoigoe 1' ~1;.~ li'A1riùhl HCOfP:.~Ef~ (lOi, réhanantt'an dé Brou'/ler a "'dé la satire (,;otte:ir.i< ), de la bouS<?~t du vnmi;o.I 17J:fH7?1;.1,263]. explique ;omefois, 11011 $ \lfl$ cou•vl <.~ i !i~UlC"é. qu·'â l'arrivee dU pei nu~ â Ainsterdam, l?.!. -"ama ;eur~ de l'an de pei mure» lui «fi;~nt 1;) .;h:IS$e~f>~U ( S~•·.. Oil o•HI.w::;it élv lé':O idencc [ 17~9.-1721:1, 2 ~!i.]. Il i1L' serait pas difficile decompr""ndre.r.P.s Con~r;:~dict ions en en foi :;.,nt les trodvctiotlsde l~lfiéhotomic traditturincile du fond et de la. forme, ou en ex:pl;quaot que!~;; textes le~>' plu$ incisifs :'! féf!:ltd d-e BrnuwP.r Qnf été écrits ;~prè.s Sa fllûll, fllôl').qUL' o;a P.Opularîté_ a-.·~it dh ;u.l au profit· d ~sJijnsc~i.'deoo: (.!..iai~>·c:es,P.)(-plir.a tio n!'. ~1 !J~i! r:~ie-m ÎP. f.~ it que-, j)OIIf CeftOi(l$ lliéOi"ÎCicn':i <:ommL' _floubr,a J<.;:on OU là.ir~:.•o;·;c , fa «maniere» tmanierl de F.ro1Jwer. P.f>t ~g.'llflmP.I\t çritl­ qua~l~ e1 G !J~, pnu( n·;~ utr~S.IlOIÎS. ~t- Vt·rn:nl'). S(·~-sûJc\S ;:OmtqU(.'S;, .'~Onl i~Î'h.:tt.;~lcs. LES GENRES PICTURAUX GEN ÈSE, MÉTAMORPHOSES ET TRANSP OS ITIONS 85 Adriaen Brouwer, un peintre inconvenant et disconvenant incapable de trouver sa place. Ce décalage de Brouwer par rapport à son espace, son environnement, son milieu, se traduit aussi, chez les Pour comprendre la nature de ces reproches - ou de ces éloges-, il commentateurs, par un rapport conflictuel à la Loi, au sens large du apparaît nécessaire de se pencher à nouveau sur la réception de l'œu­ terme, qu'elle soit celle de son maître, Frans Hals, admirée mais aussi vre et de la vie de Brouwer. Àla lecture de nombreux textes publiés sur contestée, celle de l'art et du genre, ou celle encore de la société dans le peintre hollandais, de Cornelis de Bie [ 1661) à Gerard de Laires se laquelle vit le peintre - le séjour de Brouwer en prison, entre 1633 et ( 1740), un premier fait structural peut être relevé. Il renvoie à ce que avril1634, son goût pour le tabac et l'alcool, ses multiples dettes sont l'on pourrait appeler la «disconvenance» ou !'«inconvenance» des leitmotive de ses biographies. Pour le dire autrement, le person­ d'Adriaen Brouwer. Pour les théoriciens et les connaisseurs, il y aurait nage d'Adriaen Brouwer, sa vie, son œuvre, semblent faire, dans le quelque chose qui ne convient pas avec lui, ou plutôt qui ne lui champ de la pratique artistique du 1?• siècle, mauvais genre. Ce «mau­ convient pas. Le thème de son <<vêtement» mal taillé, ou de son cos­ vais genre» est d'abord celui de sa vie: «ainsi est l'homme, ainsi est 3 tume qui masquerait, qui tromperait, qui ne serait pas ce qu'il montre, son œuvre», dit Houbraken au sujet de plusieurs peintres , qui, en ren­ revient constamment. De Bie raconte de quelle façon, dans le dénue­ voyant au vieil adage selon lequel tout peintre se peint lui-même, ment, à Amsterdam, Brouwer a l'idée de peindre, sur un simple rappelle que Brouwer, comme Bruegel ou les frères Le Nain, devait être vêtement, toutes sortes d'ornements qui lui donnent aussitôt l'appa­ un «peintre paysan» pour en peindre aussi fréquemment [ LOMAZZO rence d'un homme riche et puissant. Il devient alors l'objet de toutes 1584: 106; KEMP 19?6; SCHERLING 1990: 34-35; ZfiLLNER 1992: 13?-160). les curiosités. Et il lui faut dévoiler l'artifice, lors d'un spectacle théâ• Mais ce «mauvais genre» renvoie aussi à la place que les œuvres de tral en 1627, en versant de l'eau sur son costume et en le faisant ainsi Brouwer n'ont pas pu- ou pas voulu - prendre dans leur art. apparaître, aux yeux de tous, comme «trompeur et faux» [bedrieghe­ lijck ende vals), selon l'ancien topos du peintre trompant par son 2 pinceau [BlE 1661: 91-92] • De BlEparle encore du «manteau de la dérision» sous lequel se cache la «grande raison» de Brouwer [ 1661: Adriaen Brouwer, peintre de la satire? 91], tout comme HousRAKEN explique que le peintre «a souvent fait bril­ ler sa raison sous ses plaisanteries» [ 1718-1721:1, 258]. Pour étudier les tableaux de Bruuwer, les historiens d'art ont générale­ Cette «disconvenance» est aussi une «inconvenance», qui carac­ ment cherché à concentrer leurs analyses sur leur dimension térise le «repoussant Brouwer», dont la vie comme les œuvres comique. Cornelis de BlE [ 1661: 91 ] évoque bien des «étranges représentent les «choses les plus insignifiantes», selon l'expression farces» (vremde boetserijen) et des «conversations comiques» de LAIRESSE [ 1740: 1, 185], lequel souligne aussi le caractère problé­ [boertighe conversatien) de Brouwer. SANORART fait de Brouwer un matique d'une inconvenance en semblant s'étonner de la vulgarité artiste «amusant» [lustigen) et même cynique - un deuxième des paysans peints par Brouwer, alors même que, suivant la règle Diogène -, suivant une tradition attribuant au cynique, depuis classique de la convenance [decorum), il devrait être normal qu'ils Diogène Laërce, de nombreux mots d'esprit [ 16?5: 1?4]. BuLLART parle, fussent ainsi représentés. VAN HooGSTRATEN [ 1678: 67] semble gêné de en français, d'un artiste «facétieux» et «burlesque» [ 1682: Il, 48?]. la même façon lorsqu'il évoque la «charmante laideur» des tableaux Et HouBRAKEN souligne que l'inclination de Brouwer le «portait», de Brouwer, aux sujets vulgaires mais à l'exécution maîtrisée. comme d'autres peintres [tel Jan Steen [1718-1?21: Ill, 10]), «à la Ces distinctions font des œuvres de Brouwer des objets inclassables. farce» [1?18-1?21: 1, 251]. Leurs sujets sont abjects, mais leur peinture est admirable. Leur Brouwer est ainsi inscrit, à ses dépens, dans une longue lignée de auteur semble échapper aux critères traditionnels de la critique, ce qui «peintres comiques», dont Jérôme Bosch et Pieter Bruegel l'Ancien explique peut-être la façon dont Houbraken raconte sa jeunesse sont les représentants les plus fréquemment cités. En 1604, VAN nomade, au cours de laquelle Brouwer semble avoir été incapable de MANDER cite les nombreuses «figures drôles» [ drollighe bootsen J de demeurer durablement dans une ville ou dans l'atelier de son maître, paysans, peintes par ses compatriotes au 15• et au 16• siècle [ 1604: LES GENRES PI CTURAUX GENÈSE , MÉTAMORPHOSES ET TRANSPOSITIONS 8? 212r", 228r•, 233v", 257r", 299v"; REINIŒK 1979; RENGER 1986: 114, l'iconographie rustique est, à l'exception notable de la pastorale n.31]. y compris dans des histoires plus «sérieuses» - il cite une [CoRnus 1956], très souvent associée à l'art de la satire et de la leçon Crucifixion de Bruegel [ 1604: 233v"; MUYLLE 1984: 140]. Pour dési­ morale. De ce point de vue, les tableaux de Brouwer peuvent être gner ces artistes ou leurs œuvres, les auteurs utilisent presque décrits de deux façons: comme des attaques ou des projections. toujours les mêmes adjectifs [bootsigh, potsigh ), qui traduisent leur Dans le premier cas, l'image est, comme le suggèrent l'idée de la caractère «moqueur», «blagueur», «farceur» ou «comique». «peinture ridicule», présente chez Pline, et certains passages des D'autres caractérisations apparaissent, comme chez Felipe de biographies de Brouwer, une charge critique qui dénonce sous le voile GuEVARA, qui parle de Jérôtne Bosch en comparant ses tableaux aux de la représentation. Dans le second cas, le peintre ne peut que se «gryl/i d'An.tiph ile d'Alexandrie» ( 1788: 41; UNVERFEHRT 1980: 68; peindre lui-rnême.
Load more

Recommended publications
  • 669 Other Artists
    669 Other Artists Fig. 132. Francesco Fracanzano (attrib.) Rosa and Friends (drawing, Christie’s Images) Fig. 131. Giovan Battista Bonacina, Portrait of Salvator Rosa (engraving, 1662) Fig. 133. Francesco Fracanzano (attrib.), Rosa and Friends (drawing, British Museum, London) Fig. 134. Lorenzo Lippi, Orpheus (c. 1648, private collection, Florence) 670 Fig. 135. Lorenzo Lippi (and Rosa?), The Flight Fig. 136. Lorenzo Lippi, Allegory of Simulation into Egypt (1642, Sant’Agostino, Massa Marittima) (early 1640’s, Musèe des Beaux-Arts, Angers) Fig. 137. Baldassare Franceschini (“Il Volterrano”), Fig. 138. Baldassare Franceschini (“Il Volterrano”), A Sibyl (c. 1671?, Collezione Conte Gaddo della A Sibyl (c. 1671?, Collezione Conte Gaddo della Gherardesca, Florence) Gherardesca, Florence) 671 Fig. 140. Jacques Callot, Coviello (etching, Fig. 139. Jacques Callot, Pasquariello Trunno from the Balli di Sfessania series, early 1620’s) (etching, from the Balli di Sfessania series, early 1620’s) Fig. 142. Emblem of the Ant and Elephant (image from Hall, Illustrated Dictionary of Symbols in Eastern and Western Art, p. 8) Fig. 141. Coviello, from Francesco Bertelli, Carnavale Italiane Mascherato (1642); image from Nicoll, Masks Mimes and Miracles, p. 261) 672 Fig. 143. Jan Miel, The Charlatan (c. 1645, Hermitage, St. Petersburg) Fig. 144. Karel Dujardin, A Party of Charlatans in an Italian Landscape (1657, Louvre, Paris) Fig. 145. Cristofano Allori, Christ Saving Peter from Fig. 146. Cristofano Allori (finished by Zanobi the Waves (c. 1608-10, Collezione Bigongiari, Pistoia) Rosi after 1621), Christ Saving Peter from the Waves (Cappella Usimbardi, S. Trinità, Florence) 673 Fig. 148. Albrecht Dürer, St. Jerome in his Study (engraving, 1514) Fig.
    [Show full text]
  • The Representation of Roma in Major European Museum Collections
    The Council of Europe is a key player in the fight to respect THE REPRESENTATION OF ROMA the rights and equal treatment of Roma and Travellers. As such, it implements various actions aimed at combating IN MAJOR EUROPEAN discrimination: facilitating the access of Roma and Travellers to public services and justice; giving visibility to their history, MUSEUM COLLECTIONS culture and languages; and ensuring their participation in the different levels of decision making. Another aspect of the Council of Europe’s work is to improve the wider public’s understanding of the Roma and their place in Europe. Knowing and understanding Roma and Travellers, their customs, their professions, their history, their migration and the laws affecting them are indispensable elements for interpreting the situation of Roma and Travellers today and understanding the discrimination they face. This publication focuses on what the works exhibited at the Louvre Museum tell us about the place and perception of Roma in Europe from the15th to the 19th centuries. Students aged 12 to 18, teachers, and any other visitor to the Louvre interested in this theme, will find detailed worksheets on 15 paintings representing Roma and Travellers and a booklet to foster reflection on the works and their context, while creating links with our contemporary perception of Roma and Travellers in today’s society. 05320 0 PREMS ENG The Council of Europe is the continent’s leading human rights organisation. It comprises 47 member Volume I – The Louvre states, including all members of the European Union. Sarah Carmona All Council of Europe member states have signed up to the European Convention on Human Rights, a treaty designed to protect human rights, democracy and the rule of law.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • Entertaining Genre of Matthijs Naiveu - Depicting Festivities and Performances at the Dawn of the ‘Theatre Age’
    Research Master Thesis Art History of the Low Countries in its European Context Entertaining genre of Matthijs Naiveu - depicting festivities and performances at the dawn of the ‘Theatre Age’. Student: Adele-Marie Dzidzaria 0507954 Supervisor: Prof. Dr. Rudi Ekkart Utrecht University 2007 Table of contents Introduction....................................................................................................................3 1 Biography/Overview of Naiveu’s oeuvre ..............................................................5 1.1 From Leiden to Amsterdam...........................................................................5 1.2 From early genre to theatrical compositions..................................................8 1.3 Portraiture ....................................................................................................14 2 Historiographic context/ Theatricality in genre painting.....................................19 3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities..............................................................................................................24 4 Theatrical paintings - thematic sources and pictorial models..............................32 4.1 Out-door festivities and performances.........................................................32 4.2 In-door celebrations and amusements..........................................................56 5 Conclusion ...........................................................................................................62
    [Show full text]
  • A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde
    A CATALOGUE OF THE PAINTINGS IN THE COLLECTION of SIR FREDERICK COOK, BT. A CATALOGUE OF THE PAINTINGS AT DOUGHTY HOUSE RICHMOND AND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE Edited by HERBERT COOK, M.A., F.S.A. VOLUME I ITALIAN SCHOOLS By DR TANCRED BORENIUS LONDON • WILLIAM HEINEMANN A CATALOGUE OFTHE PAINTINGS AT DOUGHTY HOUSE RICHMOND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE EDITED BY HERBERT COOK, M.A., F.S.A. HON. MEMBER OF THE ROYAL ACADEMY OF MILAN VOLUME II DUTCH AND FLEMISH SCHOOLS By J. O. KRONIG LONDON WILLIAM HEINEMANN M DCCCC XIV PREFATORY NOTE THE second volume of the Cook colledtion is devoted to the Dutch and Flemish Schools. The art of the so-called School of the Early Netherlands is reserved for the third volume, which will also contain the English, French, German and Spanish se&ions. In the present volume 190 Dutch and Flemish piitures are recorded, and of these 100 are illustrated either on photogravure plates or by collotype process. The former are executed by the Rembrandt Photogravure Co., of 36 Basinghall Street, E.C.; the latter are the work of Messrs Knighton & Cutts, of Red Lion Court, Fleet Street, E.C. As in the previous volume, single photographs can be obtained either from Signor Domenico Anderson, of Rome, or from Mr W. E. Gray, of 92 Queen’s Road, Bays- water; the register number for ordering is always quoted whenever the photograph exists. The text has been entrusted to Mr J.
    [Show full text]
  • BAMBOCCIANTI SCHOOL (Before 1650)
    THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com BAMBOCCIANTI SCHOOL (before 1650) A Shepherd Boy in a Landscape Oil on canvas 70 x 60 cm PROVENANCE Baron Vetter von der Lilie, Hautzenbichl Castle, Knittenfeld, Austria; from whom purchased by the previous owner in 1950 The Bamboccianti were genre painters active in Rome from about 1625 until the end of the seventeenth century. Most were Dutch and Flemish artists, including Andries and Jan Both, Karel Dujardin, Jan Miel and Johannes Lingelbach, who brought existing traditions of depicting peasant subjects from sixteenth-century Netherlandish art with them to Italy. The name, meaning ‘ugly doll’, derived from the nickname of Pieter van Laer, credited with initiating the Bamboccianti School, due to his ungainly proportions. In Rome during this period, the work of the Bamboccianti School served as an important countermovement which eschewed the lofty subject matter and grand scale of the conventional art of the time. Artists such as Salvator Rosa lamented that the city had been invaded by a group of painters whose works represented “nothing but rogues, cheats, pickpockets, bands of drunks and gluttons, scabby tobacconists, barbers, and other sordid subjects”1. Rosa was outraged that 1 Levine, David A. (December 1988). "The Roman Limekilns of the Bamboccianti". The Art Bulletin (College Art Association) 70 (4): 569–589 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.
    [Show full text]
  • Fotokatalog Photographic Catalogue Catalogo Fotografico
    Fotokatalog Photographic Catalogue Catalogo fotografico Source: http://www.khi.fi.it/5201080/Fotokataloge Stable URL: http://wwwuser.gwdg.de/~fotokat/Fotokataloge/Amsler_o_J_6_l.pdf Published by: Photothek des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut http://www.khi.fi.it XVII . Jahrhundert. Spanien. 10808 Bildniss König Philipps IV. von Spanien. IV M. 12, -. Lond on. Desgl. (1129). 10809 Christus an der Martersäule. IV M. 12,-. London. Desgl. (1148). 108(() Bildniss des Infanten Don Balthasar. II M. 3,5°. London. Hertford Gallery. [oS[ I Bildniss einer Dame mit einem Fächer. n M. 3,5°. Erklärung der Abkürzungen. London. Desgl. 10812 Bildniss des Carlo M. Altogradi. TI M. -,80. IV M. 3,-· Cie. _ Jac. Burckhardt, Der Cicerone, Fünfte Auflage, bearbeitet von Lucca Privatbesitz (March. Gir. Mansi). Wilh. Bode. 108 [3 Die Anbetung der Könige. n M. 1,5°. m M. 3,-· ~1ad rid. Prado (1054). C. = J. A. Crowe & G. B. CavaIcasell e, Geschichte der ital. Malerei. \OSq Di~ Madonna mit dem Kinde. Theil aus No. IOS[3· V M. 6.-. Woerm. = Woltmann - Woermann, Geschichte der Malerei. Madrid. IJesf{l. Mor. = Lermolieff, Die Werke ital. Maler in den Galerien ,'on München, roS[ S Christus am Kreuz. II M. [,50. III M. 3,-· IV M. 12,-. Dresden und Berlin. V M. 6,-. VI M. 48,-. Madrid. Desg-\. (1055). Vasari = Le opere di Giorgio Vasari. [0816 Die Krönung Mariae. Il M. 1,50. III M. 3,-. IV M. [2,-. V M. 6,-. Madrid. Desg\. (1056). [08 I 7 Der Kopf Mariae. Theil aus No. \0816. III M. 3,-. Scala der Formate. Mad rid. Desgl.
    [Show full text]
  • 2020 Recent Acquisitions
    2020 RECENT ACQUISITIONS OLD MASTER PAINTINGS 11 Duke Street, St. James’s, London SW1Y 6BN Telephone: +44 (0) 20 7930 1144 Fax: +44 (0) 20 7976 1596 Email: [email protected] Website: www.rafaelvalls.co.uk @rafaelvallsgallery Member of SLAD ACKNOWLEDGEMENTS We are extremely grateful to the following for their generous help in the writing of this catalogue: Daphne Dorel, David Geggus, Claudine Lebrun Jouve, Kate Lowe, Jan Michel Massing, Elizabeth McGrath, Fred Meijer, Michael Ohajuru, Susan Peabody, Rowland Rhodes and Jamie Rountree. Front and Back Cover: Louis Gentile, Il Cousin ‘A Double Portrait of Adele, Daughter of the Comte de Carcasonne, together with Don Guillen Damiser de Moncada in Commemoration of their Marriage circa 1030’, (detail) cat. no. 14. Catalogue of Works The catalogue is arranged in alphabetical order 1. Jan Asselijn 2. Jan Asselijn 3. Osias Beert I 4. Jacob Bogdani 5. Ferdinand Bol 6. Bartolomeus Breenbergh 7. Elias van den Broeck 8. François Bunel II & Studio 9. Francesco Codino 10. Edwaert Collier 11. David Klöcker Ehrenstrahl 12. Marie Margaretha La Fargue 13. Frans Francken II 14. Louis Gentile, Il Cousin 15. Karl Girardet 16. Karl Girardet 17. Jan Josefsz van Goyen 18. Franciscus Gysbrechts 19. Samuel van Hoogstraten 20. Jules Romain Joyant 21. Carlo Labruzzi 22. Pascuale Mattej 23. Jan Miel 24. Circle of Robert Peake 25. Jean Pillement 26. Franz Rösel von Rosenhof 27. Enoch Seeman 28. John Thomas Serres 29. Johann Friedrich Seupel 30. Maerten Boelema de Stomme 31. Nicolas Antoine Taunay 32. Jan Tilius 33. Cornelis van de Velde 34. Charles Wautier 35.
    [Show full text]
  • Michael Sweerts (1618-1664) and the Academic Tradition
    ABSTRACT Title of Document: MICHAEL SWEERTS (1618-1664) AND THE ACADEMIC TRADITION Lara Rebecca Yeager-Crasselt, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti – the contemporary group of Dutch and Flemish genre painters who depicted Rome’s everyday subject matter – to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor François Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts’ artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy.
    [Show full text]
  • The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome
    ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century.
    [Show full text]
  • The Presentation of Roma in Major European
    THE REPRESENTATION OF ROMA The Council of Europe is a key player in the fight to respect the rights and equal treatment of Roma and Travellers. As IN MAJOR EUROPEAN such, it implements various actions aimed at combating discrimination: facilitating the access of Roma and Travellers MUSEUM to public services and justice; giving visibility to their history, culture and languages; and ensuring their participation in the COLLECTIONS different levels of decision making. Another aspect of the Council of Europe’s work is to improve the wider public’s understanding of Roma and their place in Europe. Knowing and understanding Roma and Travellers, their customs, their professions, their history, their migration and the laws affecting them are indispensable elements for interpreting the situation of Roma and Travellers today and understanding the discrimination they face. This publication focuses on what the works exhibited at the Prado Museum tell us about the place and perception of Roma in Europe from the 15th to the 19th centuries. Students aged 12 to 18, teachers, and any other visitor to the Prado interested in this theme, will find detailed worksheets on 15 paintings representing Roma and Travellers and a booklet to foster reflection on the works and their context, while creating links with our contemporary perception of Roma and Travellers in today’s society. PREMS 005220 ENG The Council of Europe is the continent’s leading human rights organisation. It comprises 47 member Volume 2 – The Prado states, including all members of the European Union. Sarah Carmona All Council of Europe member states have signed up to the European Convention on Human Rights, a treaty designed to protect human rights, democracy and the rule of law.
    [Show full text]
  • Dipinti Antichi Arte Del Xix Secolo
    MINERVA AUCTIONS DIPINTI ANTICHI ARTE DEL XIX SECOLO GIOVEDÌ 26 NOVEMBRE 2015 MINERVA AUCTIONS Palazzo Odescalchi Piazza SS. Apostoli 80 - 00187 Roma Tel: +39 06 679 1107 - Fax: +39 06 699 23 077 [email protected] www.minervaauctions.com FOLLOW US ON: Facebook Twitter Instagram LIBRI, AUTOGRAFI E STAMPE GIOIELLI, OROLOGI E ARGENTI Fabio Massimo Bertolo Andrea de Miglio Auction Manager & Capo Reparto Capo Reparto Silvia Ferrini Claudia Pozzati Office Manager & Esperto Amministratore DIPINTI E DISEGNI ANTICHI FOTOGRAFIA Valentina Ciancio Marica Rossetti Capo Reparto Specialist Adele Coggiola Junior Specialist & Amministratore Public Relations Muriel Marinuzzi Ronconi Amministrazione Viola Marzoli ARTE DEL XIX SECOLO Magazzino e spedizioni Claudio Vennarini Luca Santori Capo Reparto ARTE MODERNA E CONTEMPORANEA Georgia Bava Capo Reparto Photo Stefano Compagnucci Silvia Possanza Layout Marco Macchioni Amministratore Print CTS Grafica srl MINERVA AUCTIONS ROMA 119 DIPINTI E DISEGNI ANTICHI ARREDI E ARTE ORIENTALE ARTE DEL XIX SECOLO GIOVEDÌ 26 NOVEMBRE 2015 ORE 16.00 ROMA, PALAZZO ODESCALCHI Piazza SS. Apostoli 80 TORNATA UNICA DIPINTI E DISEGNI ANTICHI (LOTTI 1 – 107) ARREDI E ARTE ORIENTALE (LOTTI 108 – 130) ARTE DEL XIX SECOLO (LOTTI 131 – 272) ESPERTI / SPECIALISTS MILANO Valentina Ciancio Lunedì 9 novembre ore 18.00 Dipinti e Disegni Antichi, Arredi e Arte orientale Casa Manzoni - Via Gerolamo Morone, 1 [email protected] Paolo Biscottini presenterà il dipinto di Mosè Bianchi (lotto 136) Luca Santori ROMA Arte del XIX
    [Show full text]