DOCSLIB.ORG

Masters of Darkness, 5 December 2013 – 30 March 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masters of Darkness, 5 December 2013 – 30 March 2014 Masters of Darkness `~êáå~ cêóâäìåÇ `ìê~íçêI läÇ j~ëíÉê aê~ïáåÖë ~åÇ m~áåíáåÖë R aÉÅÉãÄÉê OMNP Ó PM j~êÅÜ OMNQ Art Bulletin of Nationalmuseum Stockholm Volume OM Art Bulletin of Nationalmuseum, Stockholm, Picture Editor Every effort has been made by the publisher to is published with generous support from the Rikard Nordström credit organizations and individuals with regard Friends of the Nationalmuseum. to the supply of photographs. Please notify the Photo Credits publisher regarding corrections. The Nationalmuseum collaborates with © Herzog Anton Ulrich-Museum, Braunschweig Svenska Dagbladet, Fältman & Malmén (p. NQ ) Graphic Design and Grand Hôtel Stockholm. © The Gothenburg Museum of Art/Hossein BIGG Sehatlou (p. NU ) Items in the Acquisitions section are listed © Malmö Art Museum/Andreas Rasmusson Layout alphabetically by artists’ names, except in the case (p. OO ) Agneta Bervokk of applied arts items, which are listed in order of © Wildenstein & Co., Inc., New York (p. OV ) their inventory numbers. Measurements are in © RMN Grand Palais/Musée du Louvre, Translation and Language Editing centimetres – Height H, Breadth B, Depth D, Paris/Hervé Lewandowski (p. PMF Gabriella Berggren and Martin Naylor. Length L, Width W, and Diameter Diam. © The J. Paul Getty Museum, Los Angeles – except for those of drawings and prints, which (Fig. QI p. PN ) Publications are given in millimetres. © RMN Grand Palais/Musée du Louvre, Ingrid Lindell (Publications Manager), Paris/René-Gabriel Ojéda (Fig. RI p. PN ) Janna Herder (Editor). Cover Illustration © Guilhem Scherf (p. PO ) Alexander Roslin ( NTNU ÓNTVP ), The Artist and his © Bridgeman/Institute of Arts, Detroit (p. PP ) Art Bulletin of Nationalmuseum is published Wife Marie Suzanne Giroust Portraying Henrik © Musée des Arts décoratifs, Paris/Jean Tholance annually and contains articles on the history Wilhelm Peill, NTST . Oil on canvas, NPN ñ VUKR cm. (p. PQ ) and theory of art relating to the collections of Donated by the Friends of the Nationalmuseum, © RMN Grand Palais/Musée du Louvre, Paris the Nationalmuseum. Sophia Giesecke Fund, Axel Hirsch Fund (p. PR ) and Mr Stefan Persson and Mrs Denise Persson. © Accademia Nazionale di San Luca, Nationalmuseum Nationalmuseum, åã TNQNK Rome/Mauro Coen (Figs, SI NM and NO , Box NSNTS pp. NNQ ÓNNS ) ëÉ ÓNMP OQ Stockholm, Sweden Publisher © Mikael Traung (Fig. T, p. NNQ ) www.nationalmuseum.se Magdalena Gram © Stockholm City Museum (p. NOP ) © Nationalmuseum and the authors http://www.stockholmskallan.se/Soksida/Post/?n Editor id=319 ISSN OMMNJVOPU Janna Herder © Stockholm City Museum/Lennart af Petersens (p. NOQ ) Editorial Committee © http://www.genealogi.se/component/ Mikael Ahlund, Magdalena Gram, Janna Herder, mtree/soedermanland/eskilstuna/ Helena Kåberg and Magnus Olausson. a_zetherstroem_/22850?Itemid=604 (p. NOR ) © http://www.genealogi.se/component/ Photographs mtree/bohuslaen/marstrand/robert-dahlloefs- Natinalmuseum Photographic Studio/Linn atelier/22851?Itemid=604 (p. NOT ) Ahlgren, Erik Cornelius, Anna Danielsson, Cecilia Heisser, Bodil Karlsson, Per-Åke Persson, Sofia Persson and Hans Thorwid. ÉñÜáÄáíáçåëLã~ëíÉêë çÑ Ç~êâåÉëë Masters of Darkness `~êáå~ cêóâäìåÇ `ìê~íçêI läÇ j~ëíÉê aê~ïáåÖë ~åÇ m~áåíáåÖë R aÉÅÉãÄÉê OMNP Ó PM j~êÅÜ OMNQ Fig. N Interior from the exhibition Masters of Darkness. få ÅçåàìåÅíáçå with the major retro - As the name indicates, the source of inspi - include no paintings by the master’s own spective dedicated to Swedish photographer ration for those European artists of differ - hand, they contain a wide range of excel - Hans Gedda at the Royal Academy of Fine ent nationalities loosely referred to as Car - lent works by his followers, many of which Arts in the winter of OMNPLOMNQ (see article avaggisti, was the art of the Lombard mas - have been exhibited only rarely. At the on p. NMN ), the Nationalmuseum also pre - ter Michelangelo Merisi da Caravaggio same time, the display can be seen as part sented a small-scale exhibition of paintings (NRTN ÓNSNM ). The pictorial world of this of an ongoing search for new ways of pre - by artists of the NT th-century international artistic movement was examined through a senting the permanent collections in the Caravaggist movement, as a historical coun - selection of OV paintings from the Muse - refurbished museum building due to open terpoint to Gedda’s contemporary imagery. um’s permanent collections. While these in OMNT . These have traditionally been ex - NMR Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP ÉñÜáÄáíáçåëLã~ëíÉêë çÑ Ç~êâåÉëë beam of light from a specific source, and accentuated chiaroscuro that makes the whole seem vital and alive. Naturalism and fantasy are in constant tension, lending the images a special charge. In Rome until NSMS – the date of his exile from the Papal States after committing a murder – he exe - cuted a series of public and private works that would change the course of European painting. The echo of Caravaggio’s revolution in painting spread widely early on. In NSMP , the Dutch art critic Karel van Mander wrote about the artist, lauding his powerful naturalism. Following his flight from Rome, and even more after his death in NSNM , an increasing number of painters adopted his manner, taking advantage of market demand for Caravaggesque works. All those aspiring artists who flocked to Rome from the beginning of the NSNM s un - til the end of the NSOM s, the decades that saw the influence of Caravaggio’s natural - ism reach its apex, were determined by the Fig. O Interior from the exhibition Masters of Darkness. master’s innovative way of painting. Many of them left after a period of time and es - tablished strong Caravaggesque traditions elsewhere, for example, in the Dutch city hibited chronologically and strictly accord - artistic capital of Europe. Ecclesiastical and of Utrecht. The exhibition Masters of Dark - ing to national schools, but the exhibition secular patronage on a grand scale attract - ness charted the spread of Caravaggio’s pic - Masters of Darkness took a different ap - ed scores of artists from all over Europe, torial innovations throughout Europe and proach. An innovative pictorial language based on parish censuses, as many as two the creative energies it generated for introduced in European painting around thousand between NSMM and NSPM . Here roughly four decades. Caravaggism encom - NSMM was the common thread running they became witness to a true revolution in passed a great diversity of artists who, with through a series of thematic presentations, painting as the Northern Italian artists Car - their varying artistic temperaments and bringing together works by Italian, Spanish, avaggio and Annibale Carracci trans - cultural backgrounds, explored different French, Dutch and Flemish artists, active in formed Italian art, each in their own man - aspects of the master’s art. Italy and elsewhere in Europe during the ner overturning the entrenched Mannerist By way of transition between the twin first half of the NT th century. style that still dominated official commis - exhibitions Hans Gedda and Masters of Dark - Few artists have had an effect compara - sions. By NSMM , with his first public works ness, Domenico Fetti’s “portrait” of an el - ble in scale and depth to that of Caravag - for the Contarelli Chapel in the French na - derly man in the guise of a Classical Poet gio. His arrival in Rome in NRVO coincided tional church of San Luigi dei Francesi, and a Vanitas Still Life by an unknown with the election of Pope Clement VIII, Caravaggio had become a universally ac - Northern European artist displayed on the and the papal city was destined to soon be - claimed master of the contemporary art entrance wall were compared and contrast - come the centre of international Car - scene. He created an expressive new picto - ed in a playful manner with Gedda’s pho - avaggism. If the turmoil of the Reforma - rial language, with naturalistically mod - tographs of similar motifs (Fig. N). In the tion and the growing dominance of the Eu - elled figures depicted from life, a theatrical adjoining spacious gallery the exhibited ropean nation states had diminished the construction of narrative, the action in the works were then subdivided into the political and economic power of the papa - foreground, a dark background to focus at - themes of “Genre Painting”, “Saints and cy by NSMM , Rome was still the unrivalled tention on subjects illuminated by a strong Martyrs”, “Biblical Stories”, “Still Life Paint - Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP NMS ÉñÜáÄáíáçåëLã~ëíÉêë çÑ Ç~êâåÉëë ing” and the “History of Antiquity” (Fig. O), allowing us to witness the dissemination of new subjects and the transformation of older imagery under the master’s influ - ence. Large-format wall texts helped to phrase the hanging, as did the dramatic ef - fect of both the exhibition design and the complex lighting of the individual paint - ings. Texts on all works, audiovisuals, and films, made for an in-depth presentation of this part of the collections. The opening section featured paintings with genre motifs, reflecting in various ways a new type of gallery pictures introduced by Caravaggio and developed by Bartolomeo Manfredi and others (Fig. PF . Few Car - avaggisti succeeded in securing public com - missions on the competitive Roman stage, and many specialised instead in paintings for display in the private art galleries of a powerful new breed of collectors, bankers, princes, and cardinals. Inspired by the stock characters of contemporary popular theatre and picaresque novels, tavern scenes with half-length protagonists en - gaged in drinking and card-playing, amorous affairs, music-making, pick-pock - eting and fortune-telling, found a special resonance with Netherlandish and French artists, as exemplified by Nicolas Régnier’s Sleeper Awakened by a Young Woman with Fire and Hendrick ter Brugghen’s companion pieces Girl Holding a Glass and Man Playing the Lute. While warning against overindul - gence in sensual pleasures, such images would have been seen by sophisticated NT th-century viewers as intensely humorous entertainment.
Load more

Recommended publications
  • Il Tempo Di Caravaggio. Capolavori Della Collezione
    COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • HNA April 11 Cover-Final.Indd
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience.
    [Show full text]
  • GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque Anni Di Attività
    GALLERIA GIAMBLANCO GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività La GALLERIA GIAMBLANCO, fondata a Torino nel 1993 La Galleria Giamblanco di Torino festeggia da Deborah Lentini e Salvatore Giamblanco, da oltre venticinque anni offre ai suoi clienti dipinti di grandi maestri italiani e stranieri con questo catalogo i suoi primi venticinque anni dal Cinquecento al primo Novecento, attentamente selezionati per qualità e rilevanza storico-artistica, avvalendosi di attività, proponendo al pubblico un’ampia selezione della consulenza dei migliori studiosi. di dipinti dal XV al XIX secolo. Tra le opere più importanti si segnalano inediti di Nicolas Régnier, Mattia Preti, Joost van de Hamme, Venticinque anni di attività Gioacchino Assereto, Cesare e Francesco Fracanzano, Giacinto Brandi, Antonio Zanchi e di molti altri artisti di rilievo internazionale. Come di consueto è presentata anche una ricca selezione di autori piemontesi del Sette e dell’Ottocento, da Vittorio Amedeo Cignaroli a Enrico Gamba, tra cui i due bozzetti realizzati da Claudio Francesco Beaumont per l’arazzeria di corte sabauda, che vanno a completare la serie oggi conservata al Museo Civico di Palazzo Madama di Torino. Catalogo edito per la Galleria Giamblanco da 2017-2018 In copertina UMBERTO ALLEMANDI e 26,00 Daniel Seiter (Vienna, 1647 - Torino, 1705), «Diana e Orione», 1685 circa. GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività A CURA DI DEBORAH LENTINI E SALVATORE GIAMBLANCO CON LA COLLABORAZIONE DI Alberto Cottino Serena D’Italia Luca Fiorentino Simone Mattiello Anna Orlando Gianni Papi Francesco Petrucci Guendalina Serafinelli Nicola Spinosa Andrea Tomezzoli Denis Ton Catalogo edito per la Galleria Giamblanco da UMBERTO ALLEMANDI Galleria Giamblanco via Giovanni Giolitti 39, Torino tel.
    [Show full text]
  • National Inventory of Continental European Paintings Report NIRP in the North – York City Art Gallery Dr
    National Inventory of Continental European Paintings Report NIRP in the North – York City Art Gallery Dr. Magdalena Łanuszka During my research for the NICE Paintings project in York I have completed the examination of 231 paintings dating from the 15th century to ca. 1900. Most of them have not been researched for the past 40 years and many of them have never been researched at all. The collection was last catalogued in the 1960s and 1970s. As a result of the present research many new aspects of the paintings have been described; new datings, attributions and interpretations have been proposed. Apart from collecting up‐to‐date literature references (and conclusions on the paintings proposed by various scholars in their publications in recent decades), some brand new hypotheses have been suggested. The following report contains the conclusions which are the result of my own study on the paintings and are here proposed for the first time. I would like to thank Mr. Andrew Greg, Director of the NIRP project, for his kind support of my work and a lot of help in editing this report. 1. Attributions YORAG 752 Flagellation of Saint Barbara Attributed in the past to the so‐called Wiener Schottenmeister the Younger (Master of the Schotten Altar II), who led a workshop that created the retable to the Schottenstift in Vienna in 1469 (dated, but by some scholars assumed it had been produced between 1469 and about 1475) of which 21 panels survived (now partly in Schottenstift Museum and partly in Belvedere 1 in Vienna). The Schotten Altar Master was clearly influenced by Nurembergian painting, and he knew Netherlandish art as well.
    [Show full text]
  • Morganhallguide-Print.Pdf
    SOUTH WALL NORTH WALL 1 William Heysham Overend 8 Emanuel de Witte 15 Cigoli (Ludovico Cardi) 22 Jacob Pynas 28 Sir Thomas Lawrence 35 Claude Vignon and Studio 1 Emanuel Gottlieb Leutze 8 Unidentified Artist 15 Cristóbal Villalpando 20 Constance Mayer 26 John Trumbull 32 Carlo Dolci English, 1851–1898 Dutch, 1617 – 1692 Italian, Florence, 1559 – 1613 Dutch, c. 1590 – c.1648 English, 1769 – 1830 French, 1593 – 1670 German, active in America, Italian, Bologna Mexican, 1649 – 1714 (Marie–Françoise–Constance American, 1756 – 1843 Italian, Florence, 1616 – 1686 An August Morning with The New Fish Market in Adoration of the Shepherds, The Adoration of the Magi, 1617 Lady St. John as “Hebe,” c. 1808 Banquet of Anthony and 1816 – 1868 Fantastic Architectural The Archangel Michael, c. 1700 La Martinière) The Death of General Warren Christ Child with Flowers, Farragut; The Battle of Mobile Amsterdam, 1678 c. 1602 Oil on copper Oil on canvas Cleopatra, c. 1630 The Storming of the Teocalli by Perspective, c. 1730–40 Oil on canvas French, 1775 – 1821 at the Battle of Bunker’s Hill, c. 1670s Bay, August 5, 1864, 1883 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift in memory of Mae Cadwell Oil on panel Cortez and His Troops, 1848 Oil on canvas The Ella Gallup Sumner and Mary Catlin Self–Portrait of the Artist with June 17, 1775, 1834 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin The Douglas Tracy Smith and Dorothy Sumner Collection Fund, 1959.103 Rovensky, 1961.194 The Ella Gallup Sumner and Mary Catlin Oil
    [Show full text]
  • M. V. BRUGNOLI ©Ministero Dei Beni E Delle Attività Culturali E Del Turismo -Bollettino D'arte
    ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte Come giustamente annota Pietro Zampetti, ordinatore e direttore della mostra, nella introduzione al bel Catalogo - allo Zampetti, insieme con Giovanni Mariacher e Giu­ seppe Maria Pilo, si debbono anche le biografie e le schede degli artisti e delle opere - si tratta "di tutto un com­ plesso mondo, così ricco di personalità, così pieno di pro­ blemi vasti ed intricati; così difficile, infine, a raccogliere in una sintesi ,,: ed opera non certo facile, proprio per le tante eterogenee presenze, deve esser stata la definizione del piano di questa mostra. FIG. I - VIENNA, KUNSTHIST. MUS. - DOMENICO FETTI: TRIONFO DI GALATEA (N. 49, PARTIC.) NOTE ALLA MOSTRA DE "LA PITTURA DEL '600 A VENEZIA " L 27 GIUGNO di quest'anno, con puntuale ricorso I biennale, ha aperto i 'battenti a Ca' Pesaro la decima delle grandi mostre promosse dal Comune di Venezia e dedicate all'antica arte veneta; quest'anno il tema era "La pittura del '600 a Venezia ", e gli ambienti del pa­ lazzo seicentesco si presentavano a vista i più adatti ad ospitare la rassegna. La scelta del tema, determinata da un logico criterio di stretta sequenza storica - la mostra del 1957 essendo stata dedicata a Jacopo Bassano, l'ultima forte personalità del '500, scomparsa allo scadere del secolo dopo aver poste molte premesse per i tempi nuovi -, si imponeva anche su di un piano di attualità, per gli studi e le indagini con­ dotti sull'arte del Seicento con ritmo sempre più serrato in questo ultimo volgere di anni.
    [Show full text]
  • Cv Morselli 2019 Graf
    Morselli RAFFAELLA Professore Ordinario di Storia dell’Arte Moderna Università degli Studi di Teramo UNITE ISTRUZIONE E FORMAZIONE Maturità classica presso il Liceo Classico Virgilio di Mantova Diploma di perfezionamento in "Archivistica, Paleografia e Diplomatica" presso l'Archivio di Stato di Mantova, 11/11/1985 Laurea in Storia dell'arte (Facoltà Lettere e Filosofia), Università degli studi di Bologna, 19/06/1987, Bartolomeo Manfredi (1582-1622), pittore caravaggesco, relatrice Prof. Anna Ottani Cavina Diploma di Perfezionamento in Storia dell'Arte Medioevale e Moderna, Università degli Studi di Bologna, 15/03/1990, Giovanni Campovecchio (1754-1804) e la pittura di paesaggio a Roma, relatrice Prof. Anna Ottani Cavina Dottorato di ricerca in Storia dell'arte Medioevale e Moderna, Università degli Studi di Bologna, VI ciclo 1990/1993, titolo conseguito il 10/03/1995 con una tesi dal titolo Collezionisti e quadrerie a Bologna nel Seicento. Indagine sugli inventari legali del fondo notarile dell'archivio di Stato di Bologna ATTIVIT À DI RICERCA E INCARICHI SCIENTIFICI • Dal 1985 al 1995 attività di ricerca presso il Dipartimento di Arti Visive dell'Università di Bologna sul tema della pittura caravaggesca e del collezionismo bolognese del Seicento • Dal 1987 al 1990 collaborazione tramite schedature del patrimonio storico-artistico della provincia di Mantova con la Soprintendenza per i beni storico-artistici di Brescia-Cremona-Mantova • Nel biennio 1987-89 completo riordino, inventariazione e ricerca documentaria sulla raccolta scientifica delle cere anatomiche del '700 e dell'800 conservate presso il museo di Anatomia Umana Normale dell'Università di Bologna • Nel 1991-1995 attività` di ricerca presso il Museu de Belas Artes di Rio de Janeiro e la Biblioteca National (la collezione di dipinti e disegni italiani del XVII e XVIII secolo) • Dal Novembre 1990 al 1994 consultant per il Provenance Index del J.P.
    [Show full text]
  • Masterpieces from Buckingham Palace
    PRESS RELEASE Thursday, 13 August 2020 Masterpieces from Buckingham Palace The Queen’s Gallery, Buckingham Palace 4 December 2020 – January 2022 Sixty-five paintings that usually hang in the Picture Gallery at Buckingham Palace and are widely acknowledged to be among the highlights of the Royal Collection will be brought together in a gallery exhibition for the first time. In Masterpieces from Buckingham Palace, spectacular works by artists such as Titian, Rembrandt, Vermeer, van Dyck and Canaletto can be enjoyed ‘close up’, and visitors will be encouraged to consider the artists’ intentions, why the paintings were highly prized in their day and why we would now consider these works to be ‘masterpieces’. The exhibition has been made possible by the removal of the paintings from the Picture Gallery, one of the State Rooms at Buckingham Palace, to prepare for the next phase of the Rembrandt van Rijn, Portrait of Reservicing Programme. This major ten-year project will Agatha Bas (‘Lady with a Fan’), overhaul the Palace’s essential services, including lead pipes and 1641 aging electrical wiring and boilers, to ensure the building is fit for the future as an official residence of the Sovereign and a national asset for generations to come. One of the themes explored in the exhibition is the artists' masterly use of paint. In Rubens’ Self-Portrait, 1623, thinly applied pigment brilliantly conveys the translucent quality of flesh, and blue and red highlights help create the impression of three dimensions. The furrowed brows, weather-beaten cheeks and wrinkled skin of Griet Jans and Jan Rijcksen in Rembrandt’s The Shipbuilder and his Wife, 1633, appear to have been sculpted out of paint, vein by vein.
    [Show full text]
  • Still Looking for Pieter Bruegel the Elder
    STILL LOOKING FOR PIETER BRUEGEL THE ELDER By Jamie Lee Edwards A thesis submitted as part of the requirements for the degree of M.Phil(B) in the History of Art School of Languages, Cultures, Art History and Music University of Birmingham 2013 0 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Pieter Bruegel the Elder (c.1526-69) is one of the most renowned sixteenth-century Netherlandish artists. Paradoxically, however, he is also one of the most mysterious and our dearth of known historical information about Bruegel has generated much debate about how his art relates to the religious and political conflicts raging in the Low Countries during the 1560s. Most previous scholarship has attempted to place Bruegel’s allegiances on one side or the other of a Catholic versus Protestant binary, and attempted to demonstrate that Bruegel’s art was conceived and understood as partisan propaganda. By taking a reception-focused approach, this thesis seeks to address this shortcoming in Bruegel scholarship. Chapter 1 is primarily concerned with the intended audience for Bruegel’s art, their beliefs and the ways in which they displayed and interpreted art.
    [Show full text]
  • Holy Figures in Renaissance and Baroque Landscapes
    European Scientific Journal May 2017 /SPECIAL/ edition ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 Journey in Religious Pictures: Holy Figures in Renaissance and Baroque Landscapes Sibel Almelek Isman, (PhD) Dokuz Eylul University/Turkey Abstract Artists have portrayed the beauty and glory of nature since Antiquity. Renaissance and Baroque painters depicted religious episodes in impressive landscapes. The aim of this paper is to examine the sceneries which picturise the journey of a biblical figure or a saint. There are many stories in the bible which involve voyage either on the earth or from the earth towards the heaven. Noah built an ark for himself, his family and the animals and they rode safely in the flood. Abraham sent Hagar and their son Ishmael into the wilderness of Beersheba. Lot, his wife and two daughters left the wicked city of Sodom. Jacob dreamed a ladder set up on the earth toward reached the heaven. The Book of Exodus tells the journeys of Moses. He was put in a basket and left in Nile when he was a baby and later in his adult life he passed through the Red Sea with the children of Israel. Gospels describe several journeys. Three wise men made a trip to see the newborn Jesus. An angel appeared to Joseph and warned him to flee into Egypt with the Infant Jesus. Jesus walked on the Sea of Galilee, when his disciples were waiting on the boat. Jesus was led away to be crucified in the pictures called The Road to Calvary. Jesus walked with two of his disciples on the road to the village of Emmaus.
    [Show full text]