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Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Sigmund Freud, Sublimation, and the Russian Silver Age Ana Siljak
Sigmund Freud, Sublimation, and the Russian Silver Age Ana Siljak Freud’s lengthiest and most exhaustive exposition of sublimation and its particular relationship to knowledge and creativity is acknowledged to be his Leonardo da Vinci and a Memory of his Childhood, published in 1910. It has been called “fundamental to psychoanalytical thought,” and the “foundational” text on sublimation.1 Freud had already discussed the idea of sublimation – the redirection of sexual impulses away from their original objects and toward “higher” pursuits – in numerous theoretical texts prior to his work on Leonardo. Curiously, however, Freud chose to develop his theory most fully through an idiosyncratic psychological biography of Leonardo Da Vinci. A few explanations have been advanced for Freud’s interest in Leonardo. Leonardo had already been canonized by the nineteenth century as a particular kind of modern genius: a man with a rare combination of dispassionate analysis, an urge to experiment, a daring imagination, and an incredible artistic talent. He inspired Goethe, Kant, and Stendahl to see him as a misunderstood prophet of the Enlightenment. His art was similarly perceived as enigmatic: the Mona Lisa, most probably painted between 1503 and 1506 was, in the nineteenth century, already the iconic painting it is to this day. Writers as diverse as Theophile Gautier, Jules Michelet, and George Sand mused upon its beauty, and, in particular, the “mystery” of the Mona 1 Rossella Valdre, On Sublimation: A Path to the Destiny of Desire, Theory, and Treatment (London: Karnac Books, 2014), 20-22. Bradley Collins notes that dozens of books and articles have been written on this single work. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • 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. Touching the Void: The museological implications of theft on public art collections Jillian Seaton Ph.D. University of Edinburgh 2014 Abstract Of central importance to this thesis is the way security measures contradict the process through which museums have been seeking to divest themselves of theoretical hierarchies and value judgments in recent years. A context for investigation is established that considers how a perceptible increase in art theft, complicated by the escalating value of individual objects and the proliferation of museums as represented by a rise in attendance figures has produced a climate of vulnerability for arts collections around the world. In response, museums are installing unprecedented levels of security that are having a significant impact on established viewing conditions and redefining museum space. Further hindering this situation is the disparity between the fields of museology and museum security. -
RAFFAELLO SANZIO Una Mostra Impossibile
RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
LOUIS BETTS, PORTRAIT PAINTER of HIGH SOCIETY: the Meadow Brook Hall Portraits of Alfred G
d LOUIS BETTS, PORTRAIT PAINTER OF HIGH SOCIETY: The Meadow Brook Hall Portraits of Alfred G. Wilson, Matilda R. Wilson, Danny and Frances Dodge, and John F. Dodge Karen A. Morgante Portraiture has a long established tradition in American art. Datable to the colonial limners, portraits were considered a practical mode which enabled an individual to establish his “sense of being” along with ties to his family and position. Throughout the seventeenth and eighteenth-century, it was the dominant art form of the middle class Protestant society. As the country grew and prospered, the wealthy merchants and plantation families had their portraits painted in the style of their mother country. Sir Godfrey Kneller, the official por- traitist of the English aristocracy, established the model for the high court style. The Grand Manner was brought to America with the influx of immigrant painters, and gradually, by Amer- ican-born artists who studied abroad. Patrons expected the painter to capture their likeness, as well as suggest their social position. A new realm of portraiture was opened with the advent of the daguerreotype in the nineteenth-century. As the process evolved, photography provided an affordable means for the masses to have their images recorded for posterity. For some artists, the new visual realism of photography was an aid 24 to capturing an individual in action, a thought, a moment in time; other artists embraced new approaches to portraying their sitter in a more creative way. The early twentieth-century found the national and in- ternational scene in a whirlwind; economic, political, social, and technological changes affected society’s way of life and thinking. -
Sir Anthony Van Dyck
CO N T E N T S k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries L I ST O F I L L U ST R A T I O N S Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius . -
Versatility of Botulinum Toxin at the Yonsei Point for the Treatment of Gummy Smile
CLINICAL RESEARCH Versatility of botulinum toxin at the Yonsei point for the treatment of gummy smile Hessa Al Wayli, BDS, MSc Consultant, Department of Oral Medicine, Ministry of Health, Dental Directorate, Al-Roda, Riyadh, Saudi Arabia Correspondence to: Dr Hessa Al Wayli Consultant, Department of Oral Medicine, Dental Administration Riyadh Health, Ministry of Health, Dental Directorate, Al-Roda, Riyadh, Saudi Arabia 13215; Tel: +966 505445212; Email: [email protected], [email protected] 86 | The International Journal of Esthetic Dentistry | Volume 14 | Number 1 | Spring 2019 AL WAYLI Abstract assessed at 2, 12, 24, and 36 weeks postinjection. The data were evaluated using mean standard de- The purpose of the present study was to evaluate viation, analysis of variance (ANOVA), and Tukey’s the efficacy of a single dose of botulinum toxin post hoc test. The results of the study revealed that (BTX) at the Yonsei point for the treatment of gum- a single dose of BTX-A injected at the Yonsei point my smile (GS). A total number of 45 female patients was effective in the treatment of GS P( < 0.05) and were enrolled in the study at a private clinic over a achieved better results than multiple injections at period of 24 months. Three units of onabotulinum- various sites. toxinA (BTX-A) per site (90 hemifacies) were initially injected at the Yonsei point. The patients were then (Int J Esthet Dent 2019;14:86–95) The International Journal of Esthetic Dentistry | Volume 14 | Number 1 | Spring 2019 | 87 CLINICAL RESEARCH Introduction frequently recommended. In contrast, the use of BTX represents a simple, fast, and ef- Gummy smile (GS) is a well-known condition. -
A Scientific Method for the Attribution of Paintings with Application To
A Scientific Method for the Attribution of Paintings identified for the analysis of the individual painting technique of the particular master. The brushstrokes of each artist, as a rule, have a certain length and direction, as well as a viscosity of the paint particular to this master. They with application to Leonardo’s Mona Lisa twins result from the texture of the brushes, the speed of the hand movements, the particular features of the color palette, as well as from the pigment mixing techniques and the use of glazing. J. F. Asmus 1 and V. A. Parfenov 2 In light of this, one of the possible ways of studying the properties of an artist’s painting technique is to 1 Department of Physics & Center for Advanced Nanotechnology, University of California, CA, U.S.A. analyze the histograms from digital images of the paintings. Any amplitude histogram (another name for the 2 Department of Quantum Electronics and Opto-Electronic Devices, intensity histogram) of a digital optical image is a function (graph) of the statistical distribution of the image St. Petersburg Electrotechnical University, St. Petersburg, Russia elements of various intensities, in which the horizontal axis indicates the brightness level and where the relative number of pixels with a specified brightness value are plotted on the vertical axis (a typical histogram is shown in Introduction Figure 1). The attribution of great paintings is one of the most important activities in modern museum work. The attribution of an artwork is the result of authentication – a procedure for the confirmation of its authenticity. The main task in authentication is to find material evidence by which it is possible to indisputably acknowledge the experts’ conclusions about the authorship and the painting’s time of creation. -
Mystery Portrait May Be a Lost Raphael Benjamin Sutton, Friday, June 13, 2014
AiA Art News-service Mystery Portrait May Be a Lost Raphael Benjamin Sutton, Friday, June 13, 2014 A portrait painting currently attributed to a follower of Giuliano Bugiardini . Courtesy Dorotheum. According to Italian art critic and former undersecretary of cultural heritage Vittorio Sgarbi, writing in Corriere della Sera‘s magazine Sette, a painting currently attributed to the followers of 16th-century Florentine painter Giuliano Bugiardini may actually be by Raphael. The portrait of an unknown woman was snapped up by collector Peter Silverman at Dorotheum in Vienna on April 9 for €36,900 ($50,000), well over its €15,000–20,000 estimate ($20,000–27,000), and now he is trying to have its attribution changed to the master from Urbino, Le Figaroreports. “Vittorio Sgarbi is the first to suggest an attribution to the master, Silverman says. Now I’m going to let the experts have their say and see if a consensus emerges. For my part, all that I can say with certainty is that my wife and I are very happy to own this magnificent portrait.” The opinions of numerous experts on Renaissance painting are being brought to bear on the painting. Silverman’s hunch is that its similarity to Raphael’s Maddalena Doni, La Velata, and La Donna Gravida portraits is more than a formal coincidence. Elisabetta Gnignera, an expert of clothing analysis, dated the painting to between 1506–08, But high- resolution photography at Paris’s Lumiere Technology lab peg its execution to circa 1515, the same year that Raphael painted his La Velata. Closer analysis of Silverman’s acquisition has also revealed a similar portrait of the same sitter, but looking much older and with a different, more in vogue hairstyle. -
Raffaelloraffaello
RAFFAELLORAFFAELLO Autoritratto, 1506 ca Vol II, pp. 446-459 1483-1520 LA VITA 1483 nasce a Urbino figlio di un pittore Va a bottega dal padre e si educa alla corte dei Montefeltro Allievo del Perugino 1504-1508 soggiorno fiorentino 1508 va a Roma invitato da Giulio II e con l’aiuto di Bramante Lavora per Giulio II e Leone X 1520 muore a Roma Raffaello 2 1483-1520 LE OPERE 1500-1502 Studio di nudo maschile (disegno) Urbino 1502 Cristo benedicente 1505 San Giorgio e il drago (disegno) Firenze 1504 Lo sposalizio della Vergine (olio su tavola) 1505 Ritratto di Agnolo Doni 1506 Ritratto di Maddalena Doni 1506 Madonna del cardellino 1506 Madonna del prato (o del Belvedere) 1507 Sacra famiglia Canigiani (olio su tavola) 1507-1509 Trasporto di Cristo al sepolcro (pala Baglioni) 1509-1510 Scuola d’Atene (affresco) Roma 1512 Ritratto di Giulio II 1513 Madonna della seggiola 1513 La velata 1513-1514 altri affreschi nelle Stanze vaticane 1518 Leone X 1518-1519 Due uomini nudi in piedi (disegno) 1518-1520 Trasfigurazione (olio su tavola) Raffaello 3 1500-1502 STUDIO DI NUDO MASCHILE All’inizio della sua carriera si dedica al disegno, soprattutto agli studi sulla figura umana Non disegna un contorno netto ma una serie di linee affiancate I corpi vengono presentati scarni, con muscoli e tendini in evidenza Michelangelo, Studio di figura nuda, 1504-06 Raffaello 4 1502 CRISTO BENEDICENTE Opera giovanile È ancora a Urbino Raffaello 5 1505 SAN GIORGIO E IL DRAGO Influssi leonardeschi – Il cavallo impennato – Lo slancio del cavaliere – La lunga testa del