Who's Afraid of St. Luke
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Art from the Ancient Mediterranean and Europe Before 1850 Gallery 15
Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 - 5 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve, Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses. At this point in Domenichino’s career he wanted more commissions for narrative scenes and knew he needed to demonstrate his skill in depicting human action. -
煉金術:論象徵概念與創作意識之源 Alchemy: a Study of the Symbols’ Conceptions and Creative Consciousness
國立臺灣師範大學美術研究所繪畫創作理論組 博士論文 指導教授:陳淑華 博士 論文題目: 煉金術:論象徵概念與創作意識之源 Alchemy: A Study of the Symbols’ Conceptions and Creative Consciousness 研究生:張欽賢 撰 2013/03/20 1 煉金術:論象徵概念與創作意識之源 中文摘要 煉金術是註記人類探索自我意識與物質世界的廣袤史觀。它是宗教神 話思想,以及個人洞察自身認知根源的集合體。煉金術統合物質形式的象 徵意識以及精神心靈的昇華幻化,並將之轉變成思想與技藝之間的關鍵聯 繫。藝術家藉此以助於學習外在與內在、題材與創作活性的整合,使繪畫 與其它視覺藝術如同煉金術一般,成為聯接物質與心理世界的範例。回顧 典籍所載,古人所言之藝術與藝術家,亦與煉金術士一般,充滿了神秘難 解之奇幻異數,而非今日所使用詞彙之實質意含。 本篇研究要旨在於探索煉金術思想脈絡以及其象徵系統,各篇皆以傳 統象徵系統引導創作之源,論述象徵體系之中,煉金術為之詮釋作為創造 者的終極創生,指引創作者所需之超越智慧的自然共感,與追尋超越物質 與精神世界的開放思想,以及深刻的創作情緒。本篇論文亦以此尋思古代 習藝者以及現代心理與美學理論,研究存於內心的信仰與創作程序以何種 圖面形式再現虛無的想像。以象徵系統,作為探究抽象概念轉化為繪畫創 作因素之工具與潛意識攫取想像的能力。 關鍵詞:煉金術,四元素,哲人石,曼陀羅,象徵心理,異教藝術。 i Alchemy: A Study of the Symbols’ Conceptions and Origin Consciousness of Creation Abstract Alchemy is the history of humanity’s self-awareness and marvel with the physical world. It is collective and individual research for perspicacity and the origins of religion, mythology, and personal self-identity. Alchemy is at once a symbolic consciousness of substantial forms and a symbolic utterance of the spiritual and psychological transformations of the spirit, became a connection between wisdom and art. The artist has been given the possibility of integrating his outward and inward creation, his subject matter and his creative activity. Painting and other visual arts are one intent example of communication between physical and psychological world, and other is alchemy. If we look back at the whole art history existence, the appearance of art and artist, just like alchemist, seems a curious phenomenon indeed, an ethereal secret that cannot easily be explained in terms of contemporary lexicon that we may real understand. While the thrust of this study is directed at elucidating the history of alchemy and system of symbols, every chapter includes explicable the form of symbols from the origin of traditions. -
The Leiden Collection
Slaughtered Pig ca. 1660–62 Attributed to Caspar Netscher oil on panel 36.7 x 30 cm CN-104 © 2017 The Leiden Collection Slaughtered Pig Page 2 of 8 How To Cite Wieseman, Marjorie E. "Slaughtered Pig." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Slaughtered Pig Page 3 of 8 Seventeenth-century Netherlandish images of slaughtered oxen and pigs Comparative Figures have their roots in medieval depictions of the labors of the months, specifically November, the peak slaughtering season. The theme was given new life in the mid-sixteenth century through the works of the Flemish painters Pieter Aertsen (1508–75) and Joachim Beuckelaer (ca. 1533–ca. 1574), who incorporated slaughtered and disemboweled animals in their vivid renderings of abundantly supplied market stalls, and also explored the theme as an independent motif.[1] The earliest instances of the motif in the Northern Netherlands come only in the seventeenth century, possibly introduced by immigrants from the south. During the early 1640s, the theme of the slaughtered animal—split, splayed, and Fig 1. Barent Fabritius, suspended from the rungs of a wooden ladder—was taken up by (among Slaughtered Pig, 1665, oil on others) Adriaen (1610–85) and Isack (1621–49) van Ostade, who typically canvas, 101 x 79.5 cm, Museum Boijmans van Beuningen, situated the event in the dark and cavernous interior of a barn, stable, or Rotterdam, inv. -
Gabriel Metsu (Leiden 1629 – 1667 Amsterdam)
Gabriel Metsu (Leiden 1629 – 1667 Amsterdam) How to cite Bakker, Piet. “Gabriel Metsu” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/gabriel- metsu/ (accessed September 28, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Gabriel Metsu Page 2 of 5 Gabriel Metsu was born sometime in late 1629. His parents were the painter Jacques Metsu (ca. 1588–1629) and the midwife Jacquemijn Garniers (ca. 1590–1651).[1] Before settling in Leiden around 1615, Metsu’s father spent some time in Gouda, earning his living as a painter of patterns for tapestry manufacturers. No work by Jacques is known, nor do paintings attributed to him appear in Leiden inventories.[2] Both of Metsu’s parents came from Southwest Flanders, but when they were still children their families moved to the Dutch Republic. When the couple wed in Leiden in 1625, neither was young and both had previously been married. Jacquemijn’s second husband, Guilliam Fermout (d. ca. 1624) from Dordrecht, had also been a painter. Jacques Metsu never knew his son, for he died eight months before Metsu was born.[3] In 1636 his widow took a fourth husband, Cornelis Bontecraey (d. 1649), an inland water skipper with sufficient means to provide well for Metsu, as well as for his half-brother and two half-sisters—all three from Jacquemijn’s first marriage. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Rembrandt Remembers – 80 Years of Small Town Life
Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p. -
Kuzey Avrupa Resminde “Et Karkasi” Imgesi
DOI: 10.7816/idil-04-16-03 idil, 2015, Cilt 4, Sayı 16, Volume 4, Issue 16 KUZEY AVRUPA RESMİNDE “ET KARKASI” İMGESİ Semih ÖZKAN 1 ÖZET “Et karkası” ya da “Ölü Öküz” betimi, özellikle Kuzey Avrupa resim sanatında sıklıkla karşımıza çıkan sembolik bir imgedir. Konu üzerinde ikonografik değerlendirmeler yapıldığında, Eski Ahit ve İbrani mitlerinde örneğini gördüğümüz bu sembolik imgenin kökeninin daha da eskiye uzandığını görmekteyiz. Hıristiyan sanatına baktığımızda benzer temanın devam ettiğini ve referansları eskiye dayanan bu imgenin bir kurban sembolü olarak değişim geçirdiğini, Hz. İsa’nın kendini insanların günahları için kurban etmesinin görsel karşılığı olarak kullanıldığını görmekteyiz. İsa’nın ölüm biçimi çarmıha gerilme şeklinde olduğu için, kurban edilmiş boğanın öldürüldükten sonra bir karkasa gerilmesiyle ortaya çıkan biçim ile ikisi arasındaki sembolik anlamda bir görsel özdeşlik kurulmuştur. 16. Yüzyıla kadarki örneklerinde, İncil’den alınmış konuları resmeden sahnelerde, kompozisyonun içinde bir unsur olarak yer alırken, 17. Yüzyıla doğru et karkası betiminin kompozisyonun ana öğesi haline geldiği örneklerle karşılaşılmaktadır. Bu makale kapsamında bu imgenin dinsel bir sembol olarak tarihsel süreçte resim sanatındaki ifade ediliş biçimleri, çeşitli örnekler üzerinde ele alınmıştır. Anahtar Kelimeler: Et karkası, Kuzey Avrupa resmi, kurban, Eski Ahit, Yeni Ahit Özkan, Semih. "Kuzey Avrupa Resminde Et Karkası İmgesi". idil 4.16 (2015): 39-56. Özkan, S. (2015). Kuzey Avrupa Resminde Et Karkası İmgesi. idil, 4 (16), s.39-56. 1 Yrd. Doç. Dr., Alanya Hep Üniversitesi, Sosyal Bilimler Enstitüsü, Alanya-Antalya, sozkan1(at)yahoo.com 39 www.idildergisi.com Özkan, Semih. "Kuzey Avrupa Resminde Et Karkası İmgesi". idil 4.16 (2015): 39-56. “HANGING CARCASS” IMAGE IN NORTHERN EUROPEAN PAINTING ABSTRACT “Hanging Carcass” or “Slayed Ox” is a symbolic image which appears especially in Northern European Painting. -
Honthorst, Gerrit Van Also Known As Honthorst, Gerard Van Gherardo Della Notte Dutch, 1592 - 1656
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Honthorst, Gerrit van Also known as Honthorst, Gerard van Gherardo della Notte Dutch, 1592 - 1656 BIOGRAPHY Gerrit van Honthorst was born in Utrecht in 1592 to a large Catholic family. His father, Herman van Honthorst, was a tapestry designer and a founding member of the Utrecht Guild of St. Luke in 1611. After training with the Utrecht painter Abraham Bloemaert (1566–1651), Honthorst traveled to Rome, where he is first documented in 1616.[1] Honthorst’s trip to Rome had an indelible impact on his painting style. In particular, Honthorst looked to the radical stylistic and thematic innovations of Caravaggio (Roman, 1571 - 1610), adopting the Italian painter’s realism, dramatic chiaroscuro lighting, bold colors, and cropped compositions. Honthorst’s distinctive nocturnal settings and artificial lighting effects attracted commissions from prominent patrons such as Cardinal Scipione Borghese (1577–1633), Cosimo II, the Grand Duke of Tuscany (1590–1621), and the Marcheses Benedetto and Vincenzo Giustiniani (1554–1621 and 1564–1637). He lived for a time in the Palazzo Giustiniani in Rome, where he would have seen paintings by Caravaggio, and works by Annibale Carracci (Bolognese, 1560 - 1609) and Domenichino (1581–-1641), artists whose classicizing tendencies would also inform Honthorst’s style. The contemporary Italian art critic Giulio Mancini noted that Honthorst was able to command high prices for his striking paintings, which decorated -
Dutch Art, 17Th Century
Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. -
Paintings in the Laboratory: Scientific Examination for Art History and Conservation Dr
UvA-DARE (Digital Academic Repository) Paintings in the laboratory: scientific examination for art history and conservation dr. Groen, C.M. Publication date 2011 Link to publication Citation for published version (APA): dr. Groen, C. M. (2011). Paintings in the laboratory: scientific examination for art history and conservation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 Stichtitg Foundation Rembrandt ResearchProject A CORPI.-TSOF' REMBRAI{DT PAINTII{GS trRI\ST VAN Dtr WtrTE,RIi\G utith contributionsbS,t KARIN GROEN,PtrTER KLEIN, JAAPVAN DERVEEN, I\{ARIEKE DE WINKEL with thecollaboration of PAULBROEKHOFF, MICHIEL FRANKEN,LIDEKE PEESEBINKHORST translatedbi -
Jan Steen: the Drawing Lesson
Jan Steen THE DRAWING LESSON Jan Steen THE DRAWING LESSON John Walsh GETTY MUSEUM STUDIES ON ART Los ANGELES For my teacher Julius S. Held in gratitude Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jan Steen (Dutch, 1626-1679). The Drawing Lesson, circa 1665 (detail). Oil on panel, Mollie Holtman, Editor 49.3 x 41 cm. (i93/s x i6î/4 in.). Los Angeles, Stacy Miyagawa, Production Coordinator J. Paul Getty Museum (83.PB.388). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: Jan Steen. Self-Portrait, circa 1665. © 1996 The J. Paul Getty Museum Oil on canvas, 73 x 62 cm (283/4 x 243/ in.). 17985 Pacific Coast Highway 8 Amsterdam, Rijksmuseum (sK-A-383). Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners unless other- P.O. BOX 2112 wise indicated. Santa Monica, California 90407-2112 Typography by G & S Typesetting, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by Typecraft, Inc., Pasadena, California Walsh, John, 1937- Bound by Roswell Bookbinding, Phoenix, Jan Steen : the Drawing lesson / John Walsh, Arizona p. cm.—(Getty Museum studies on art) Includes bibliographic references. ISBN 0-89326-392-4 1. Steen, Jan, 1626-1679 Drawing lesson. 2. Steen, Jan, 1626-1679—Criticism and interpretation. I. Title. II. Series. ND653.S8A64 1996 759.9492—dc20 96-3913 CIP CONTENTS Introduction i A Familiar Face 5 Picturing the Workshop 27 The Training of a Painter 43 Another Look Around 61 Notes on the Literature 78 Acknowledgments 88 Final page folds out, providing a reference color plate of The Drawing Lesson INTRODUCTION In a spacious vaulted room a painter leans over to correct a drawing by one of his two pupils, a young boy and a beautifully dressed girl, who look on [FIGURE i and FOLDOUT]. -
Prints That Were Initially Produced and Printed There.[16]
Peter Paul Rubens (Siegen 1577 – 1640 Antwerp) How to cite Bakker, Piet. “Peter Paul Rubens” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/peter-paul- rubens/ (accessed September 27, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Peter Paul Rubens Page 2 of 7 Peter Paul Rubens was born in Siegen, Germany, on 28 June 1577. His parents were the lawyer Jan Rubens (1530–87) and Maria Pijpelincx (1538–1608).[1] Jan had also been an alderman of Antwerp, but fearing reprisal for his religious tolerance during the Beeldenstorm (Iconoclastic Fury), he fled in 1568 and took refuge with his family in Cologne. There he was the personal secretary of William I of Orange’s (1533–84) consort, Anna of Saxony (1544–77), with whom he had an affair. When the liaison came to light, Jan was banished to prison for some years. Shortly after his death in 1587, his widow returned with her children to Antwerp. Rubens’s study at the Latin school in Antwerp laid the foundations for his later status as a pictor doctus, an educated humanist artist who displayed his erudition not with a pen, but with a paintbrush. He derived his understanding of classical antiquity and literature in part from the ideas of Justus Lipsius (1547–1606), an influential Dutch philologist and humanist.[2] Lipsius’s Christian interpretation of stoicism was a particularly significant source of inspiration for the artist.[3] Rubens’s older brother Filips (1574–1611) had heard Lipsius lecture in Leuven and was part of his circle of friends, as was Peter Paul, who continued to correspond with one another even after the scholar’s death.