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Full Press Release
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Page, Canvas, Wall: Visualising the History Of
Title Page, Canvas, Wall: Visualising the History of Art Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/15882/ Dat e 2 0 2 0 Citation Giebelhausen, Michaela (2020) Page, Canvas, Wall: Visualising the History of Art. FNG Research (4/2020). pp. 1-14. ISSN 2343-0850 Cr e a to rs Giebelhausen, Michaela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Issue No. 4/2020 Page, Canvas, Wall: Visualising the History of Art Michaela Giebelhausen, PhD, Course Leader, BA Culture, Criticism and Curation, Central St Martins, University of the Arts, London Also published in Susanna Pettersson (ed.), Inspiration – Iconic Works. Ateneum Publications Vol. 132. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2020, 31–45 In 1909, the Italian poet and founder of the Futurist movement, Filippo Tommaso Marinetti famously declared, ‘[w]e will destroy the museums, libraries, academies of every kind’.1 He compared museums to cemeteries, ‘[i]dentical, surely, in the sinister promiscuity of so many bodies unknown to one another… where one lies forever beside hated or unknown beings’. This comparison of the museum with the cemetery has often been cited as an indication of the Futurists’ radical rejection of traditional institutions. It certainly made these institutions look dead. With habitual hyperbole Marinetti claimed: ‘We stand on the last promontory of the centuries!… Why should we look back […]? Time and Space died yesterday.’ The brutal breathlessness of Futurist thinking rejected all notions of a history of art. -
Romantic Germany May 2019 Drawings from Weimar’S Museums 22 May - 1 September 2019
PRESS KIT Romantic Germany May 2019 Drawings from Weimar’s Museums 22 May - 1 September 2019 Tuesday - Sunday, 10 am - 6 pm INFORMATION Open late: Friday until 9 pm www.petitpalais.paris.fr Franz Kobell, Paysage avec grotte, tombeaux et ruines au clair de lune (détail), vers 1787 © Klassik Stiftung Weimar Exhibition organised in association with PRESS CONTACT: Mathilde Beaujard [email protected] +33 1 53 43 40 14 Romantic Germany, drawings from Weimar’s museums - 22 May / 1 September 2019 CONTENTS Press Release p. 3 Guide to the exhibition p. 4 The exhibition scenography p. 9 Exhibition album p. 10 The Ingres of the Montauban’s museum p. 11 Paris Musées, a network of Paris museums p. 12 About the Petit Palais p. 13 Practical information p. 14 2 Romantic Germany, drawings from Weimar’s museums - 22 May / 1 September 2019 PRESS RELEASE For the first time in France the Petit Palais is presenting a selection of 140 drawings from the lavish collections of Weimar’s museums. These remarkable images – initially chosen by Goethe (1749–1832) for the Grand Duke of Saxe- Weimar-Eisenach and his own collection – offer a spec- tacular overview of the golden age of German drawing (approx. 1780–1850). In the late 18th century the city of Weimar, seat of the Dukes of Saxe-Weimar, was Germany’s intellectual hub. A key figure at this enlightened court, Goethe accumulated numerous posts of cultu- ral responsibility, in addition to writing most of his works there. Himself a knowledgeable collector and draughtsman, he built up for the Grand Duke a handsome collection representing every facet of German drawing. -
Revision and Exploration German Landscape
REVISION AND EXPLORATION GERMAN LANDSCAPE DEPICTION AND THEORY IN THE LATE 18TH CENTURY Ph.D. Thesis History of Art University College London Mark A. Cheetham June, 1982 THESIS ABSTRACT "Revision and Exploration: German Landscape Depiction and Theory in the Late Eighteenth Century" My thesis focuses on the work of German painters in Italy c.l770-1800, and addresses issues raised by their complex relationship with the 17th century Italianate landscape tradition. Jakob Philipp Hackert (1737-1807), Johann Christian Reinhart (1761-1847), and Joseph Anton Koch (1768- 1839) worked in Italy precisely because they considered them- selves to be thg inheritors of the 17th century landscape style of Claude, Dughet, Rosa, and Nicolas Poussin. But while the German paintings do resemble the earlier works, they also revise the 17th century programme of representing Ideal nature. They are more detailed and precise in their depiction of natural phenomena; they also represent natural events and sites not included in the traditional canon. Extrapolating from 18th century critical terminology, I have developed the term "particularity" to focus attention on this unprecedented attentiontt the details of nature. I argue that the late 18th century German landscapes revise the Italianate landscape tradition so that it embodies particularity, and that the impetus for this change comes from two contemporary sources: natural history -- especially the nascent sciences of geology and biology -- and art theory. My argument is divided into three sections. In the first, I establish the existence and visual characteristics of particu- larity first by contrasting 17th century versions of the famous cascades at Tivoli (by Claude, Dughet, and others) with depic- tions of the same site by late 18th century German artists, and second, by describing the new sites which were explored and depicted by Hackert, Reinhart, and Koch. -
Master Drawings 1500 — 1950 Arnoldi-Livie
master drawings 1500 — 1950 Arnoldi-Livie MASTER DRAWINGS 1500 -1950 Including five drawings from the MICHAEL BEROLZHEIMER COLLECTION restituted by German museums Published on the occasion of the SALON DU DESSIN Paris 2021 Catalogue 32 Galeriestraße 2b D-80539 München [email protected] www.arnoldi-livie.de +49(0)89 22 59 20 HANS SÜSS VON KULMBACH (Kulmbach 1476 – 1528 Nürnberg) 1 The Mass of the Angels, before 1510 Pen in brown ink 28.8 x 21.7 cm Monogram „AD“ lower middle right EXHIBITIONS: PROVENANCE: Kunsthaus Malmedé, Handzeichnungen alter Meister aus Étienne-Joseph-Théophile Thoré-Bürger (1807-1869), Rheinischem Privatbesitz, Cologne, May – July 1934, Paris, for L’Alliance des Arts (1842-1848), Paris (L. 61) cat. no. 42. With unidentified collector‘s mark (HB) (L. 3499) Johannes Goldsche, Berlin, before 1942 SELECTED LITERATURE: Gutekunst & Klipstein, Bern, 22 November 1956, lot 188 F. Winkler, Die Zeichnungen Hans Süss von Kulmbachs Dr Peter Kröker, Essen (acquired in 1956) und Hans Leonhard Schäufeleins, Berlin, 1942, no. 12 Arnoldi-Livie, Munich (2004) (as Hans Süss von Kulmbach). Collection Jean Bonna, Geneva L. Oehler, ‚Das ‘geschleuderte’ Dürer-Monogramm‘, in: Marburger Jahrbuch für Kunstwissenschaft, Marburg, In our sheet, closely related to a Dürer composition in XVII, 1959, pp. 64, 73 and 151-153, fig. 8 (as Hans Süss Rennes (see ill. lower left), Kulmbach has concentrated von Kulmbach). on the angels at the base who in a context of a heavenly W. L. Strauss, The Complete Drawings of Albrecht Dürer, mass display a placard to the viewer. In Dürer‘s drawing New York, 1974, under no. -
Acta Archive Indexes Directory
VOLUME 50, NO. 1 | 2017 ALDRICHIMICA ACTA Acta Archive Indexes • Chronological • Affiliations 4-Substituted Prolines: Useful Reagents in Enantioselective HIMICA IC R A Synthesis and Conformational Restraints in the Design of D C L T Bioactive Peptidomimetics A A • Authors • Painting Clues Recent Advances in Alkene Metathesis for Natural Product Synthesis—Striking Achievements Resulting from Increased 1 7 9 1 Sophistication in Catalyst Design and Synthesis Strategy 68 20 • Titles The life science business of Merck KGaA, Darmstadt, Germany operates as MilliporeSigma in the U.S. and Canada. Chronological YEAR Vol. No. Authors Title Affiliation 1968 1 1 Buth, William F. Fragment Information Retrieval of Structures Aldrich Chemical Co., Inc. 1 Bader, Alfred Chemistry and Art Aldrich Chemical Co., Inc. 1 Higbee, W. Edward A Portrait of Aldrich Chemical Company Aldrich Chemical Co., Inc. 2 West, Robert Squaric Acid and the Aromatic Oxocarbons University of Wisconsin at Madison 2 Bader, Alfred Of Things to Come Aldrich Chemical Co., Inc. 3 Koppel, Henry The Compleat Chemists Aldrich Chemical Co., Inc. 3 Biel, John H. Biogenic Amines and the Emotional State Aldrich Chemical Co., Inc. 4 Biel, John H. Chemistry of the Quinuclidines Aldrich Chemical Co., Inc. Warawa, E.J. 4 Clark, Anthony M. Dutch Art and the Aldrich Collection Aldrich Chemical Co., Inc. 1969 2 1 May, Everette L. The Evolution of Totally Synthetic, Strong Analgesics National Institutes of Health 1 Anonymous Computer Aids Search for R&D Chemicals Reprinted from C&EN 1968, 46 (Sept. 2), 26-27 2 Hopps, Harvey B. The Wittig Reaction Aldrich Chemical Co., Inc. Biel, John H. -
Bernheimer – Colnaghi Announce Their Collection Being Exhibited at TEFAF, Maastricht, 7 – 16 March 2008. Submitted By: Cassleton Elliott Thursday, 14 February 2008
Bernheimer – Colnaghi announce their collection being exhibited at TEFAF, Maastricht, 7 – 16 March 2008. Submitted by: Cassleton Elliott Thursday, 14 February 2008 Among the highlights of the Bernheimer-Colnaghi stand at TEFAF, Maastricht, is Lucas Cranach the Elder’s Aristotle and Phyllis. The humiliation of the Greek philosopher Aristotle was one of the most powerful and popular pictorial examples of the theme of Weibermacht or the ‘Power of Women’. Aristotle is said to have admonished one of his students (traditionally identified as Alexander the Great) for paying too much attention to Phyllis, a woman of the court. She got her revenge by seducing the philosopher and persuading him to allow her to ride on his back in return for the promise of sexual favours. The picture can be linked to a group of paintings of similar subjects warning against the dangers of women painted by Cranach some of the earliest of which were commissioned for the bedchamber of prince Johann of Saxony in 1513. First published in 2003, the Colnaghi picture is a significant recent addition to the Cranach oeuvre. The Guardroom with Monkeys painted a century later by David Teniers II (Antwerp 1610-1690 Brussels) exposes another aspect of human folly: warfare. Monkeys wearing soldiers’ uniforms are grouped around tables, playing cards and back-gammon, one wearing a terracotta pot on his head, another a pewter funnel in place of a helmet, while on the right a cat has been taken prisoner and is escorted through the doorway by a group of monkey soldiers brandishing halberdiers. Despite the humour, there is a serious underlying message about the folly of war at a time when for most of the seventeenth century the Netherlands were occupied by troops. -
Frauke Josenhans, Vers Le Sud : Le Voyage De Johann Georg Von Dillis
RIHA Journal 0026 | 08 July 2011 Vers le Sud: Le voyage de Johann Georg von Dillis à travers la France, la Suisse et l'Italie en 18 !1 Frau"e Josenhans #eer revie$ and editing organized by: Institut national d'histoire de l'art (INHA), Paris 'evie$ers: Hu ertus !ohle, Julie Ra"os (&stract Southern France, and Provence in particular, started to lure painters as early as in the 18th century, first and foremost French ones, and then increasingly foreign painters, notably the German landscapist Johann Georg von Dillis. In 18!", he undertoo# a $ourney in the South of France in the company of the %avarian cro&n prince, the future 'ud&ig I. Dillis' $ourney is #no&n from t&o different sources: a group of dra&ings #no&n as the Voyage pittoresque dans le Midi de la France dessiné par Dillis *Staatliche Graphische Sammlung, +unich, and his unpublished correspondence &ith his brother Ignaz Dillis. .he dra&ings, &hich &ere ordered by the prince as a visual souvenir of his tour, reflect 'ud&ig(s interest in /oman 0nti1uity and thus include numerous vie&s of ancient monuments, such as the Maison Carrée in 23mes, the arc de triomphe in 4range and the ruins in Saint5/6my5de5Provence. 0part from this group there is another body of dra&ings, &hich Dillis also made during the $ourney, but that he chose not to include in the Voyage pittoresque. .hese sheets attest to the draughtsman(s attentiveness and sensibility for nature more obviously than the commissioned dra&ings. 0n official commission, the Voyage pittoresque is an e7ceptional artistic testimony of travel in the early 18th century. -
Die Münchner Akademie Der Bildenden Künste Vor 1808 Inhalt
Monika Meine-Schawe "... alles zu leisten, was man in Kunstsachen nur verlangen kan" Die Münchner Akademie der bildenden Künste vor 1808 Inhalt Die Forschung | Die Bittschrift | Die "Zeichnungs Schule respective Ma- ler= und Bildhauer academie" | Die Abgusssamlung der frühen Jahre | Der Umzug 1783/84 | Kopieren in der Galerie | Stipendien, Ausstellungen und Wettbewerbe | Die Professoren bis um 1800 | Die Abgusssammlung bis 1808 | Reformbestrebungen | Das Jahr 1808 | ANHANG 1 Die Bittschrift | ANHANG 2 Schülerliste | ANHANG 3 Gipsabgusssammlung | Verzeich- nis der abgekürzt zitierten Literatur | Abkürzungen | Abbildungen Erstpublikation in: Oberbayerisches Archiv, Bd. 128 (2004), S. 125-181. Die Forschung Die Münchner Akademie der bildenden Künste gilt als späte Gründung unter den deutschen Akademien1. Nur die 1808 ins Leben gerufene Institution hat ih- ren Platz im Bewusstsein der Öffentlichkeit (Abb. 1). Es ist die Akademie Jo- hann Peter von Langers (1756-1824, geadelt 1808) und Peter von Cornelius' (1783-1867). Zahlreiche Künstlergrößen gingen daraus hervor, die die süddeut- sche Kunstlandschaft des 19. Jahrhunderts nachhaltig prägten. Doch hatte diese Einrichtung ihre Vorgeschichte, die weit in das 18. Jahrhundert, noch vor die 1770 durch Kurfürst Maximilian III. Joseph (reg. 1745-1777) gegründete soge- nannte "Zeichnungsschule" zurückreicht, die die Bezeichnung "Akademie" be- reits im Namen trug ("Zeichnungs Schule respective Maler= und Bildhauer aca- demie"). Die Geschichte dieser älteren Institution ist, anders als die der spä- teren, nur unzureichend erforscht. Dies liegt einerseits sicherlich an der schwer zu überblickenden und lückenhaften dokumentarischen Überlieferung. Andererseits hat der lange Schatten der Akademie des 19. Jahrhunderts das Seinige dazu beigetragen, dass die Vorgängerin kaum zur Kenntnis genommen, 1 Zur Geschichte der Akademien siehe Pevsner 1986, hier S. -
PDF Graphiken Und Gemälde
Hinweis für unsere Kunden: Die Suche nach den Graphiken und Gemälden bestimmter Künstler erleichtert Ihnen der Künstlerindex ab Seite 283 GRAPHIK MINIATUR IKONEN GEMÄLDE Kat.-Nr. 160–358 GRAPHIK 16. – 20. JAHRHUNDERT 134 160 310028 / 41581-1 MICHAEL WENING 1645 Nürnberg –1718 München Historico-topographica Descriptio Das ist: Beschreibung Deß Churfürsten- und Hertzogthumbs Ober- und Nidern Bayrn. 4 Bde. München 1701 –1726. qu.-fol. Mit 4 gest. Front., 3 Kpf.-Kt. und ca. 627 Kpf.-Tafeln. Rest. HLdr. in neuz. Kassetten. Seltene Ausgabe vor der Nummerierung der Tafeln. Jeder der vier, von 1701 bis 1726 erschienenen Bände ist einem der vier bayerischen Rentämter München, Burghausen, Landshut und Straubing gewidmet. Nach der jeweiligen Regierungs- hauptstadt werden die Gerichtsbezirke in alphabetischer Reihenfolge behandelt, innerhalb der Gerichtsbezirke folgt der Beschreibung der Gerichtssitze jene der Städte und Märkte, der Klöster und der Hofmarken. Ergänzt werden die Texte von ursprünglich rund 850 Ortsansichten in ver- schiedenen Größen auf mehr als 620 Kupfertafeln. Die „Historico-Topographica Descriptio“ stellt das Lebenswerk des Kupferstechers Michael Wening dar, das nach seinem Tod 1718 von seinen Erben weitergeführt wurde. In Zusammenarbeit mit dem Jesuitenpater Ferdinand Schönwetter, der für die Texte verantwortlich zeichnet, ent- stand eine Publikation, die wohl das zeit- und kostenintensivste Unternehmen seiner Art darstellt. Die Wening’sche Topographie, die je zur Hälfte von Kurfürst Max Emanuel von Bayern und den bayerischen Landständen fi nanziert wurde, sollte als ein Mittel der Repräsentation des Kurfürsten- tums Bayern und seiner Stände in Zeiten, als für das Haus Wittelsbach die ersehnte Erlangung einer Königswürde nahe schien, dienen. Dieser Umstand erklärt auch die Tatsache, dass bei den Kupferstichen nicht selten (auf höchsten Befehl) fi ktive Zustände der Bauwerke wiedergegeben wurden, auch bei den Texten – die auf Basis eines Fragebogens redigiert wurden – sind immer wieder deutlich schönende Formulierungen festzustellen. -
RAPHAEL VRBINAS 1520 – 2020 (Intro) Raphael Celebrated The
RAPHAEL VRBINAS 1520 – 2020 (Intro) Raphael celebrated the greatest success with his art in Rome where he died 500 years ago. The many panel paintings and wall frescoes that he managed to complete there in little more than a decade have secured his international fame to this day – especially the painting of the so-called Stanze in the Vatican Palace and large altar paintings such as the Sistine Madonna. Raffaelo Sanzio, who was born in 1483, started his career, however, in Umbria and Tuscany. It is uncertain whether he completed his apprenticeship in the workshop of his father, who worked as a painter in Urbino, or under PIETRO PERUGINO in Perugia. He doubtlessly showed exceptional technical skill as a painter at an early age and ambitiously modelled his works on those of prominent colleagues such as Perugino, Pinturicchio and Signorelli. Between 1504 and 1508 Raphael remained mostly in Florence and explored Leonardo da Vinci’s and Michelangelo’s spectacular creations in his compositions. He also used his sound knowledge of FRA BARTOLOMMEO’s works equally masterfully for his own pictorial inventions. In this way he upheld his position among Florentine painters and attracted significant commissions for private devotional paintings, several portraits and an altar painting. This exhibition is devoted to Raphael’s depiction of the Holy Family commissioned by a Florentine merchant. As the painter of pictures of sublime beauty Raphael attained cult status in the 19th century, in particular. Ludwig I of Bavaria and his gallery director, Johann Georg von Dillis, revered him as the ‘king of painting’. The 500th anniversary of Raphael’s death provides an occasion to recall the history of his fame and to reflect on the extent his works influenced the pictorial language of the western world in the modern period.