A.T. Stewart Collection of Paintings, Sculptures, and Other Objects Of
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NINETEENTH-Century EUROPEAN PAINTINGS at the STERLING
Introduction Introduction Sterling and Francine clark art inStitute | WilliamStoWn, massachuSettS NINETEENTH-CENTURY EUROPEAN PAINTINGS diStributed by yale univerSity Press | NeW haven and london AT THE STERLING AND FRANCINE CLARK ART INSTITUTE VOLUME TWO Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman 4 5 Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 01267 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk. -
Get Brochure
Phone: 800-291-7436 Email: [email protected] Captain's Cove 4243 Captains Corridor, Greenbackville, VA 23356 The availability, price, and / or features of this home are subject to change without prior notice. Details and dimensions MHBR shown on the floor plan are approximate and subject to change. Illustrations are an artist's conception and may very in detail from floor plans and specifications. Accurate as of 9/26/2021. No. 767 You are using a browser that is not supported by the Google Maps JavaSNcripOt APWI. Ple aSseE coLnsLideIrN chGang!in g RyouEr bSrowOserR . LTea rnL mIoVre INDisGmis sON THE EASTERN SHORE!! Captain’s Cove Resort Community is located in Accomack County, VA, located on the west shore of Phone: 800-291-7436 EmailC: ihnifnoc@otgeeamgucer aBfatyh, obmoredse.creodm by MD to the north. Captain's Cove - 4243 Captains CoYrorui wdioll rn,e Gverr eruen obuatc okf vthilinlges, VtoA d o2!3356 Captain’s Cove features numerous amenities that offer something for everyone. The Marina Club Restaurant and lounge provide fine dining. At the Town Center, Captain’s Cove Golf Course challenges From the North Take US-113 South to Snow Hill, golfers with one of the finest experiences on the Maryland Turn left onto Maryland Route 12 (Snow Hill Shore. Road) go 10.9 miles Take a sharp left onto State Line Road travel 0.3 miles Turn right onto Captains Get some sun and swim in one of the two outdoor Corridor go 1.6 miles to Sales Center on the Right swimming pools, the Town Center pool and the From the South .. -
MENIGHETSBLADET Berg, Rokke, Halden, Asak, Tistedal, Idd Og Enningdalen Menighet
MENIGHETSBLADET Berg, Rokke, Halden, Asak, Tistedal, Idd og Enningdalen menighet Nr. 1 | 35. årgang | Mars 2021 Da viste en engel fra himmelen seg for ham og styrket ham. LUKAS 22, 43 For oss Det er godt når andre stiller opp og gjør noe for oss. (I alle fall når vi selv Han gikk den tunge veien opp til Jerusalem. ønsker det). Spesielt når vi er presset på tid eller mangler krefter. Ikke Han gikk med sine venner, med dem som skulle svikte ham. minst er det godt å få hjelp til noe jeg ikke kan løse på egen hånd. Og er det noe som ligger langt utenfor våre egne muligheter, så er det å frelse Han gjorde det for dem. Han gjorde det for dem. oss selv. For konfirmantene har vi brukt bildet om redningsmannen som Han gikk den tunge veien opp til Jerusalem. heises ned fra helikopteret og plukker opp personen som ligger hjelpeløs i den frådende sjøen. Der ble han tornekronet og skamslått under mengdens hån. I salmen «Han gikk den tunge veien» beskrives Jesus som går det tyngste Han led, han led for dem. Han gjorde det for dem. veistykket for oss. Det ingen av oss kan gå på egne føtter. Han lider og hånes, men fortsetter å gå mens han bærer korset for oss. Vandringen Han gikk den tyngste veien, der bar han selv sitt kors. på lidelsens vei stanser ikke før han trekker sitt siste åndedrag og dør på korset for oss. Han bad: «Min Gud, forlat dem.» Den døde kroppen legges i grav og mørket senker seg, inntil Han gav sitt liv på korsets tre. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co. -
'Northern Gods in Marble'
‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The ] Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century. KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism. Introduction Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythol- ogy. The young man has discovered the Norse myths through a recently pub- lished work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods: ‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic my- thology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. -
The Head of a Sheep Pastel, Black Chalk and Touches of Gouache on Light Brown Paper
Francesco Paolo Michetti (Tocco di Casauria 1851 - Francavilla al Mare 1929) The Head of a Sheep Pastel, black chalk and touches of gouache on light brown paper. Signed Michetti at the lower right. 527 x 438 mm. (20 3/4 x 17 1/4 in.) Sheep, goats and other animals appear in several of Michetti’s paintings of pastoral subjects in the 1880’s and 1890’s. The present sheet, executed with the artist’s characteristic bravura handling of a combination of pastel and gouache, may be compared stylistically with a large sheet of studies of goats in pastel, datable to 1886, in a private collection. Between 1895 and 1900 Michetti also made several photographs of sheep and goats, which he may also have used as preparatory studies for paintings. Provenance: Private collection, Chile, until 2010. Artist description: A pupil of Domenico Morelli at the Accademia di Belle Arti in Naples, Francesco Paolo Michetti enjoyed his earliest success in Paris, where he participated in the Salons of 1872 and 1875. However, it was not until 1877, when his large canvas of The Procession of the Corpus Domini at Chieti was exhibited in Naples to popular acclaim, that he secured his reputation in Italy. Michetti developed a distinctive style of painting, with the use of bold colours and vibrant effects achieved with a virtuoso technique. A common thread in his work is his interest in rural themes, and particularly the beliefs and traditions of his native Abruzzi region, seen in such paintings of the 1880’s as The Vow, now in the Galleria Nazionale d’Arte Moderna in Rome. -
LA LYRE D'ivoire HENRY-PIERRE PICOU (1824-1895) ET LES NEO-GRECS 21 Février – 18 Mai 2014 MONTAUBAN – Musée Ingres
LA LYRE D’IVOIRE HENRY-PIERRE PICOU (1824-1895) ET LES NEO-GRECS 21 février – 18 mai 2014 MONTAUBAN – Musée Ingres Jean-Léon Gérôme : Un combat de coqs, 1846 © RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski Musée Ingres Horaires d’ouverture : 1er novembre - 30 mars : 19, rue de I'Hôtel de ville tous les jours sauf lundi et dimanche matin 82000 Montauban 10h-12h / 14h-18h Tel : 05 63 22 12 91 www.museeingres.com 1er avril au 31 octobre : tous les jours sauf le lundi 10h-12h / 14h-18h Un dossier pédagogique est en préparation. Il sera présenté aux enseignants dans le cadre d'une rencontre autour de l'exposition mercredi 26 février 2014 à 14h au musée Ingres. Informations et inscriptions : [email protected] 06.26.22.65.43 1 COMMUNIQUE DE PRESSE Le musée Ingres de Montauban s’associe au musée des Beaux-Arts de Nantes pour organiser la première exposition consacrée au peintre et dessinateur nantais Henry-Pierre Picou, et plus largement au mouvement néo-grec qui marqua le XIX° siècle durant une vingtaine d’années (1847-1865). L’exposition rassemble des peintures, notamment certaines œuvres essentielles de Picou ainsi que des dessins préparatoires à des tableaux dont la plupart sont aujourd’hui perdus. Des sculptures et des objets d’art témoignent de l’influence des néo-grecs sur les arts déco- ratifs. Des portraits, en passant par les scènes de genre et la peinture d’histoire, l’exposition bénéficie de prêts exceptionnels venus de collections particulières et de grands musées fran- çais, dont le musée d’Orsay, du Louvre ou encore de Rennes et Montpellier. -
The Art of the Metropolitan Museum of New York
tCbe Hrt of tbe flftetiopoUtan fIDuseum 3Bg tbe Same Butbor 2L XTbe art of tbe IRetberlanb (Balleriea Being a History of the Dutch School of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paintings in the many Galleries With 48 Illustrations. Price, $2.00 net £ L. C. PAGE & COMPANY New England Building, Boston, Mass. GIBBS - C HANNING PORTRAIT OF GEORGE WASHINGTON. By Gilbert Stuart. (See page 287) fje gtrt of iWetcopolitany 3*1 it scnut of 3Ul” Motfe & Giving a descriptive and critical account of its treasures, which represent the arts and crafts from remote antiquity to the present time. ^ By David C. Preyer, M. A. Author of “ The Art of the Netherland Galleries,” etc. Illustrated Boston L. C. Page & Company MDCCCC1 X Copyright, 1909 By L. C. Page & Company (incorporated) All rights reservea First Impression, November, 1909 Electrotyped and Printed at THE COLONIAL PRESS C.H . Simonas Sr Co., Boston U.S.A. , preface A visit to a museum with a guide book is not inspiring. Works of art when viewed should con- vey their own message, and leave their own im- pression. And yet, the deeper this impression, the more inspiring this message, the more anxious we will be for some further information than that conveyed by the attached tablet, or the catalogue reference. The aim of this book is to gratify this desire, to enable us to have a better understanding of the works of art exhibited in the Metropolitan Museum, to point out their corelation, and thus increase our appreciation of the treasures we have seen and admired. -
Guide to Healing Uses of Crystals & Minerals
Guide to Healing Uses of Crystals & Minerals Addiction- Iolite, amethyst, hematite, blue chalcedony, staurolite. Attraction – Lodestone, cinnabar, tangerine quartz, jasper, glass opal, silver topaz. Connection with Animals – Leopard skin Jasper, Dalmatian jasper, silver topaz, green tourmaline, stilbite, rainforest jasper. Calming – Aqua aura quartz, rose quartz, amazonite, blue lace agate, smokey quartz, snowflake obsidian, aqua blue obsidian, blue quartz, blizzard stone, blood stone, agate, amethyst, malachite, pink tourmaline, selenite, mangano calcite, aquamarine, blue kyanite, white howlite, magnesite, tiger eye, turquonite, tangerine quartz, jasper, bismuth, glass opal, blue onyx, larimar, charoite, leopard skin jasper, pink opal, lithium quartz, rutilated quartz, tiger iron. Career Success – Aqua aura quartz, ametrine, bloodstone, carnelian, chrysoprase, cinnabar, citrine, green aventurine, fuchsite, green tourmaline, glass opal, silver topaz, tiger iron. Communication – Apatite, aqua aura quartz, blizzard stone, blue calcite, blue kyanite, blue quartz, green quartz, larimar, moss agate, opalite, pink tourmaline, smokey quartz, silver topaz, septarian, rainforest jasper. www.celestialearthminerals.com Creativity – Ametrine, azurite, agatized coral, chiastolite, chrysocolla, black amethyst, carnelian, fluorite, green aventurine, fire agate, moonstone, celestite, black obsidian, sodalite, cat’s eye, larimar, rhodochrosite, magnesite, orange calcite, ruby, pink opal, blue chalcedony, abalone shell, silver topaz, green tourmaline, -
Site INTERNET
Mémoire de Magny – Site INTERNET Les Bonheur selon Philippe Luez Philippe Luez, conservateur du Musée national de Port-Royal-des-Champs, nous dévoile les dessous de « Rosa Bonheur et sa famille, trois générations d’artistes », une exposition qui revisite l’histoire locale du 19ème siècle de la commune ; et celle artistique et intime de la famille Bonheur. Magny, un village de peintres En 1858, le peintre animalier Jacques Raymond Brascassat achète celle qui deviendra, près de deux siècles plus tard, la Maison des Bonheur. Il achète cette demeure grâce au peintre Robert Fleury, installé avant lui au Village et vient à Magny-les-Hameaux car son atelier situé à Clignancourt lui coûte trop cher ! C’est un des premiers peintres à acheter des animaux pour pouvoir les peindre. Il a donc besoin de place pour installer sa ménagerie ! Jacques Raymond Brascassat, autoportrait Un atelier bicentenaire Jacques Raymond Brascassat, propriétaire des lieux, crée l’atelier d’art plastique de la Maison des Bonheur, encore existant : ce n’est pas rien tout de même ! Sous les faux plafonds, je pense que l’on pourrait retrouver des éléments du 19ème. C’est lui qui fit construire la très grande fenêtre de l’atelier car il avait besoin de lumière. J’imagine qu’il devait faire ses croquis dans la ménagerie ou dans le jardin qui descendait jusqu’au vallon avant de travailler ses toiles dans l’atelier. Rosa opposée à Brascassat Entre 1845 et 1855, le peintre Brascassat est systématiquement opposé à une jeune fille qui s’appelle Rosa… Dès le début, il y a cette confrontation entre un Brascassat de plus en plus démodé, devant subir des critiques de plus en plus sévères contre lui ; et Rosa Bonheur, la petite jeune qui monte. -
Heritage Days 14 & 15 Sept
HERITAGE DAYS 14 & 15 SEPT. 2019 A PLACE FOR ART 2 ⁄ HERITAGE DAYS Info Featured pictograms Organisation of Heritage Days in Brussels-Capital Region: Urban.brussels (Regional Public Service Brussels Urbanism and Heritage) Clock Opening hours and Department of Cultural Heritage dates Arcadia – Mont des Arts/Kunstberg 10-13 – 1000 Brussels Telephone helpline open on 14 and 15 September from 10h00 to 17h00: Map-marker-alt Place of activity 02/432.85.13 – www.heritagedays.brussels – [email protected] or starting point #jdpomd – Bruxelles Patrimoines – Erfgoed Brussel The times given for buildings are opening and closing times. The organisers M Metro lines and stops reserve the right to close doors earlier in case of large crowds in order to finish at the planned time. Specific measures may be taken by those in charge of the sites. T Trams Smoking is prohibited during tours and the managers of certain sites may also prohibit the taking of photographs. To facilitate entry, you are asked to not B Busses bring rucksacks or large bags. “Listed” at the end of notices indicates the date on which the property described info-circle Important was listed or registered on the list of protected buildings or sites. information The coordinates indicated in bold beside addresses refer to a map of the Region. A free copy of this map can be requested by writing to the Department sign-language Guided tours in sign of Cultural Heritage. language Please note that advance bookings are essential for certain tours (mention indicated below the notice). This measure has been implemented for the sole Projects “Heritage purpose of accommodating the public under the best possible conditions and that’s us!” ensuring that there are sufficient guides available. -
Heritage Days Recycling of Styles 17 & 18 Sept
HERITAGE DAYS RECYCLING OF STYLES 17 & 18 SEPT. 2016 Info Featured pictograms Organisation of Heritage Days in Brussels-Capital Region: Regional Public Service of Brussels/Brussels Urban Development Opening hours and dates Department of Monuments and Sites a CCN – Rue du Progrès/Vooruitgangsstraat 80 – 1035 Brussels M Metro lines and stops Telephone helpline open on 17 and 18 September from 10h00 to 17h00: 02/204.17.69 – Fax: 02/204.15.22 – www.heritagedaysbrussels.be T Trams [email protected] – #jdpomd – Bruxelles Patrimoines – Erfgoed Brussel The times given for buildings are opening and closing times. The organisers B Bus reserve the right to close doors earlier in case of large crowds in order to finish at the planned time. Specific measures may be taken by those in charge of the sites. g Walking Tour/Activity Smoking is prohibited during tours and the managers of certain sites may also prohibit the taking of photographs. To facilitate entry, you are asked to not Exhibition/Conference bring rucksacks or large bags. h “Listed” at the end of notices indicates the date on which the property described Bicycle Tour was listed or registered on the list of protected buildings. b The coordinates indicated in bold beside addresses refer to a map of the Region. Bus Tour A free copy of this map can be requested by writing to the Department of f Monuments and Sites. Guided tour only or Please note that advance bookings are essential for certain tours (reservation i bookings are essential number indicated below the notice). This measure has been implemented for the sole purpose of accommodating the public under the best possible conditions and ensuring that there are sufficient guides available.