DOCSLIB.ORG

Schellinks De Gennaro Giannattasio Prospettiva 157-158-2.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Schellinks De Gennaro Giannattasio Prospettiva 157-158-2.Pdf PRivisrta do i storspetia dell’arte antica te mi ovaderna 1Gen5naio-7 Aprile 21015 58 Università degli Studi di Siena Università degli Studi di Napoli ‘Federico II’ Centro Di PRivriso taspetdi storiatdi evall’arte antica e moderna Nn. 157-158, Gennaio-Aprile 2015 Sommario Università degli Studi di Siena, Saggi: Università degli Studi di Napoli ‘Federico II’ Centro Di della Edifimi srl Roberto Bartalini Ambrogio Lorenzetti a Montesiepi. Sulla committenza e la cronologia degli affreschi Rivista fondata da della cappella di San Galgano 2 Mauro Cristofani e Giovanni Previtali. Rosanna De Gennaro Messina nel diario di viaggio e nei disegni Redazione scientifica: Paolo Giannattasio di Willem Schellinks 19 Fiorella Sricchia Santoro, direttore Francesco Aceto, Benedetta Adembri, Giovanni Agosti, Alessandro Angelini, Contributi: Alessandro Bagnoli, Roberto Bartalini, Evelina Borea, Francesco Caglioti, Laura Gail E. Solberg Taddeo di Bartolo e Rinaldo Brancaccio a Roma: Cavazzini, Lucia Faedo, Aldo Galli, Carlo Santa Maria in Trastevere e Santa Maria Maggiore 50 Gasparri, Adriano Maggiani, Clemente Alessandro Angelini Una ‘Sant’Agnese di Montepulciano’ di Marconi, Marina Martelli, Vincenzo Domenico Beccafumi. Per una revisione dell’attività Saladino, Fausto Zevi. giovanile del pittore 74 Segretari di redazione: Andrea Giorgi “Domenicho dipentore sta in chasa di Benedetta Adembri, Alessandro Bagnoli. Lorenso Bechafumi”. Di alcuni documenti poliziani Consulenti: intorno al culto di Agnese Segni e ai suoi riflessi Paola Barocchi, Sible L. de Blaauw, in ambito artistico (1506-1507) 94 Caroline Elam, Michel Gras, Nicholas Penny, Victor M. Schmidt, Carl Brandon Strehlke, Claudio Gulli Il cataletto di Girolamo del Pacchia per la Andrew Wallace-Hadrill, Paul Zanker. Compagnia di San Bernardino a Siena 104 Redazione: Giovanni Agosti Una cartellina tizianesca 122 Università degli Studi di Siena, Dipartimento di Scienze storiche e Patrizia Tosini La committenza Boncompagni e Guastavillani dei Beni culturali nella chiesa dei Cappuccini a Frascati: un’aggiunta via Roma 47, 53100 Siena, per Niccolò Trometta e un’ipotesi per il ‘Pittore e-mail: [email protected] di Filippo Guastavillani’ 132 Direttore responsabile: Fausto Nicolai Cesare Nebbia e la decorazione della cappella Florenzi Fiorella Sricchia Santoro a San Silvestro al Quirinale. Il contratto del 1579 e i rapporti con Girolamo Muziano 142 © Copyright: Centro Di, 1975-1982. Dal 1983, Centro Di della Edifimi srl, Stefano De Mieri Una pala napoletana di Alessandro Casolani: Lungarno Serristori 35, 50125 Firenze. il “Sant’Alfonso quando riceve l’habito sacerdotale ISSN: 0394-0802 dalla Madonna” 152 Stampa: Alpi Lito, Firenze, luglio 2016 La rivista è stampata grazie anche al contributo Marco Tanzi Tanzio da Varallo: un ritratto napoletano 162 della Biblioteca Umanistica dell’Università Tomaso Montanari “Chi perde vince”: un ‘Salvatore’ di Gian Lorenzo degli Studi di Siena e Pietro Bernini (1617-19 circa) 176 Pubblicazione trimestrale. Jacopo Stoppa Il curriculum di Ferdinando Porta nelle carte Un numero € 26 (Italia e estero). Arretrati € 29. Abbonamento annuo, € 100 (Italia), € 150 (estero). di Marcello Oretti 192 È attivo il sito di ‘Prospettiva’ www.centrodi.it/prospettiva dove acquistare in formato PDF: singoli articoli, English Abstracts 205 fascicoli (dall’anno 2012) e abbonamenti. Un numero in PDF € 20 (Italia e estero). Abbonamento annuo di 4 numeri in PDF € 80 Abbonamento in PDF + cartaceo: Italia € 150; Estero € 200 Distribuzione, abbonamenti: Centro Di della Edifimi srl via de’ Renai 20r, 50125 Firenze, telefono: 055 2342668, fax: 055 2342667, [email protected] www.centrodi.it Autorizzazione del Tribunale di Firenze n. 2406 del 26.3.75. Iscrizione al Registro Operatori di Comunicazione n. 7257. Associato all’Unione Stampa Periodica Italiana A scorrere le opere di un vedutista come nio di Savoia , rispettivamente dal nome Messina nel diario di il fiammingo Willem Schellinks (Amster - del primo proprietario della raccolta e da dam, 1623-1678), al di là dell’eleganza quello del successivo, che ne entrò in pos - viaggio e nei disegni del linguaggio stilistico, colpisce l’imme - sesso in un’asta nel 1725 prima che l’im - di Willem Schellinks diatezza con la quale esse fanno riemer - peratore Carlo VI la comprasse per la Rosanna De Gennaro gere una realtà lontana più di tre secoli. Österreichische Nationalbibliothek di Paolo Giannattasio L’interesse diventa maggiore quando i Vienna, dove oggi si conserva (figg. 1-6, luoghi ritratti riguardano Messina, triste - 8, 10-11). La suite sulla Città dello Stret - mente famosa per le ripetute catastrofi to è solo una piccola porzione di un insie - naturali e belliche che ne hanno profon - me di circa sessanta schizzi di Willem, damente sfigurata l’identità storico-arti - che spaziano da Napoli fino a Malta con stica. Si tratta in particolare dei nove dise - puntate in Calabria e, soprattutto, in Sici - gni acquerellati firmati da Schellinks ed lia. 1 A questi, riemersi agli onori degli stu - inseriti nel X volume dell’ Atlas detto di di nel 1983 grazie al bel volume W. Schel - van der Hem oppure del Principe Euge - links fecit . Viaggio al Sud, 1664-1665 cu - 1. Willem Schellinks: ‘Entrata da nord allo Stretto di 2. Willem Schellinks: ‘Messina, Torre Faro da nord- Messina’. Vienna, Atlas van der Hem , est’. Vienna, Atlas van der Hem , Österreichische Österreichische Nationalbibliothek. Nationalbibliothek. [Saggi] 19 rato da Bernard Aikema, se ne sono af - vamente nel 1664 e nel 1672. 3 Nella stes - Willem Schellinks giunse a Messina se - re presso Arnold van Halen ad Amster - gnala, ad esempio, che a Napoli Schel - gati con il viaggio per i quali rinvia generi - fiancati altri rimasti fuori dall’atlante, sa occasione la studiosa ha anche presen - guendo una rotta che, iniziata ad Amster - dam i tre quadernetti. 6 Riconoscendovi la links vede nella chiesa dei Santi Severino camente a quanto è conservato presso gli conservati in diverse collezioni pubbliche tato un “riassunto” – segnato da alcune dam il 14 luglio del 1661, lo condusse tre versione riordinata degli appunti presi dal e Sossio gli affreschi di Belisario Coren - “amatori d’arte”. 10 Sicché, dopo un primo e private, tra i quali, per quanto riguarda curiosità ma lacunoso nei contenuti – dei anni dopo attraverso l’Europa in Italia. A viaggiatore, il biografo ne segnalò i punti zio e riferisce la notizia, ritenuta inventa - intervento sul tema di Carlo Ausseer l’area messinese, si distingue un interes - fogli siciliani estratti dal taccuino che darcene conto è lo stesso artista con il suo salienti, evidenziando i paesi toccati da ta da Bernardo De Dominici (1742), che (1930) 11 mirato a sottolineare il valore sto - sante disegno pressoché inedito raffigu - Schellinks tenne durante i suoi viaggi. 4 Dagh-register, in tre piccoli volumi ma - Willem e le opere più significative da il pittore sarebbe morto cadendo da rico-artistico dei disegni meridionali, è so - rante la ‘Piazza del Duomo di Messina’ Ma sia il disegno del Metropolitan che le noscritti, noto in due versioni: la prima, questi notate in Inghilterra (I volume), in un’impalcatura; 8 per Messina invece è il lo nel 1983 che, in W. Schellinks fecit. Viag - che, passato da una vendita Christie’s, si annotazioni del diario proprio per la loro ritenuta autografa, conservata nella Kon - Francia (II volume), in Italia e a Malta e, grande polittico in sei scomparti di Poli - gio al Sud , vengono ripercorse le circo - trova oggi al Metropolitan Museum di valenza documentaria, meritano un’atten - gelige Bibliotek a Copenaghen; l’altra, sulla via del ritorno, in Svizzera, Germa - doro da Caravaggio, in origine nella chie - stanze che determinarono il tour europeo New York (fig. 20). 2 Esso è apparso in zione più circostanziata e inducono a ri - una replica con qualche variante, nella nia e Olanda (III volume). 7 Il lavoro di sa del Carmine, ad essere individuato co - e, soprattutto, pubblicate le 61 vedute ac - tempi recenti, di sfuggita e, senza l’indi - percorrere in ogni suo aspetto la tappa Bodleian Library di Oxford. 5 Houbraken non ebbe seguito e passarono me lavoro meritevole di menzione. 9 querellate tratte dall’ Atlas di van der Hem , cazione dell’attuale collocazione, in una messinese del pittore attraverso una lettu - A valutare l’importanza di questa fonte inosservate informazioni che per quanto Ma se Houbraken è stato un precoce esti - attraverso le quali si seguono le tappe del panoramica di Liliane Dufour sui “viaggi ra più puntuale di quanto da lui lasciato fu, già qualche decennio dopo, il primo riguarda l’Italia meridionale avrebbero matore dell’importanza dei taccuini di viaggio partendo da Napoli, fino alla Sici - nella Sicilia del ’600” intrapresi da Wil - nelle vesti di attento cronista nonché di biografo di Schellinks, Arnold Houbraken potuto aggiungere, se non altro, qualche Schellinks lo stesso non si può dire delle lia e a Malta, passando per la costa calabra lem Schellinks e da Albert Jovin rispetti - artista. (1660-1719), che ebbe modo di consulta - voce alla fortuna di certe opere. Vi si se - sue opere e in particolare dei disegni colle - con una sosta presso le isole Eo lie. 12 3. Willem Schellinks: ‘Messina, Chiesa di Santa Maria 4. Willem Schellinks: ‘Messina, Chiesa di Santa Maria 5. Willem Schellinks: ‘Messina vista da nord’. 6. Willem Schellinks: ‘Messina vista dalla costa calabra’. della Grotta vista da nord’. Vienna, Atlas van der Hem , della Grotta vista da sud’. Vienna, Atlas van der Hem , Vienna, Atlas van der Hem , Österreichische Vienna, Atlas van der Hem , Österreichische 20 [Saggi] Österreichische Nationalbibliothek. Österreichische Nationalbibliothek. Nationalbibliothek. Nationalbibliothek. [Saggi] 21 Questa stimolante valorizzazione del la - Il vulnus attende di essere sanato nella seguiti gli studi di Anne Charlotte Steland giatore curioso e intraprendente, aveva andavano dal continente europeo a terre La presenza di Willem a Messina si collo - voro svolto da Willem ha dato il via a stu - prospettiva di nuove acquisizioni, come che hanno evidenziato i suoi rilevanti de - avuto l’incarico di accompagnare nel ruo - lontane e perigliose come l’India.
Load more

Recommended publications
  • Creativity Over Time and Space
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Serafinelli, Michel; Tabellini, Guido Working Paper Creativity over Time and Space IZA Discussion Papers, No. 12644 Provided in Cooperation with: IZA – Institute of Labor Economics Suggested Citation: Serafinelli, Michel; Tabellini, Guido (2019) : Creativity over Time and Space, IZA Discussion Papers, No. 12644, Institute of Labor Economics (IZA), Bonn This Version is available at: http://hdl.handle.net/10419/207469 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu DISCUSSION PAPER SERIES IZA DP No. 12644 Creativity over Time and Space Michel Serafinelli Guido Tabellini SEPTEMBER 2019 DISCUSSION PAPER SERIES IZA DP No. 12644 Creativity over Time and Space Michel Serafinelli University of Essex, IZA and CReAM Guido Tabellini IGIER, Università Bocconi, CEPR, CESifo and CIFAR SEPTEMBER 2019 Any opinions expressed in this paper are those of the author(s) and not those of IZA.
    [Show full text]
  • Press Kit (PDF, 1.66MB)
    Content Rembrandt’s Orient: West Meets East in Dutch Art of the Seventeenth Century Press Conference March 11, 2021, 11 a.m. Online press conference on Zoom With: Ortrud Westheider, director, Museum Barberini Michael Philipp, head curator, Museum Barberini Dorothee Entrup and Andrea Schmidt, education, Museum Barberini Contents of the Press Kit: • Press Release • Sections of the Exhibition • Interview with Guest Curator Gary Schwartz • Facts and Figures • Publication • Press Images • Exhibition Preview 2021/22 To download images, please visit: www.museum-barberini.de/presse Press contact: Achim Klapp, Marte Kräher Museum Barberini Humboldtstr. 5–6, 14467 Potsdam, Germany T +49 331 236014 305/308 [email protected] www.museum-barberini.de Rembrandt’s Orient Content Press release Press Rembrandt’s Orient: West Meets East in Dutch Art of the Seventeenth Century March 13 to June 27, 2021 Potsdam, March 11, 2021––Rembrandt and his contemporaries were fascinated by the distant lands from which a great number of novel goods were imported to the Netherlands beginning in the seventeenth century. The enthusiasm for things foreign became fashionable and resulted in a new type of art that combined painted realism with idealized images and fantastical projections. Paintings illustrating biblical stories were also enriched with exotic elements. From today’s perspective, the drawbacks of this way of appropriating the world are apparent: the imbalance of power between cultures, which was manifest in slavery, violence, exploitation, and trade wars, was not represented. Rembrandt’s paintings with “Oriental” touches reflect the Dutch fascination with the exotic. Both true to life and alienated, they represent an alternative realm that contrasted with everyday life in the Calvinist Netherlands.
    [Show full text]
  • Bijdragen En Mededeelingen Van Het Historisch Genootschap. Deel 25
    Bijdragen en Mededeelingen van het Historisch Genootschap. Deel 25 bron Bijdragen en Mededeelingen van het Historisch Genootschap. Deel 25. Johannes Müller, Amsterdam 1904 Zie voor verantwoording: http://www.dbnl.org/tekst/_bij005190401_01/colofon.php © 2012 dbnl i.s.m. I Verslag van het bestuur over het dienstjaar 1903. Gewichtige veranderingen hebben in het afgeloopen jaar plaats gehad in den boezem van ons Bestuur. De Oud-voorzitter, de heer De Geer van Jutfaas, is op 4 Augustus ll. betrekkelijk nog onverwachts overleden. Ofschoon hij sedert 1901 geen deel meer uitmaakte van onzen kring, was hij toch nu en dan als Honorair bestuurslid een altijd welkom bezoeker onzer bijeenkomsten: nog de bestuursvergadering van Februari werd door hem bijgewoond. Maar wij hadden ons toch allengs afgewend, hem geregeld in ons midden te zien. Niet zonder moeite, want vooral de ouderen onder ons kunnen zich het Historisch Genootschap bijna niet denken zonder den man, die al de jaren van zijn lang emeritaat het meest bekend bleef als ‘professor’ De Geer. Iets meer dan eene halve eeuw is hij lid geweest van ons Bestuur1) en tot op het laatst is zijne belangstelling in de zaken van het genootschap niet verflauwd: levendig, opgeruimd en frisch, bijna jeugdig is hij gebleven tot op zijn zeldzaam hoogen leeftijd toe. Minder nog dan door anderen zal de wakkere grijsaard vergeten worden 1) De heer De Geer is tot bestuurslid benoemd op 25 Mei 1850 en reeds 4 Januari 1851 tot tweeden voorzitter. Op 11 Mei 1901 heeft hij het voorzitterschap neergelegd en is tegelijk uit het bestuur gescheiden. Bijdragen en Mededeelingen van het Historisch Genootschap.
    [Show full text]
  • Artists at Work Artists at Work
    Artists at Work Artists at Work Deanna Petherbridge and Anita Viola Sganzerla edited by Ketty Gottardo and Rachel Sloan Contents First published to accompany Artists at Work The Courtauld Gallery, London, 3 May – 15 July 2018 The Courtauld Gallery is supported by the 7 Higher Education Funding Council for England (hefce) Foreword The programme of the Gilbert and Ildiko Butler Drawings Gallery is generously supported by The International Music and Art Foundation 9 Preface 11 Playful Images of Allegory and Actuality Copyright © 2018 Texts copyright © 2018 the authors deanna petherbridge All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. 32 isbn 978-1-911300-44-1 British Library Cataloguing in Publication Data Catalogue A catalogue record for this book is available from the British Library anita viola sganzerla Produced by Paul Holberton Publishing 89 Borough High Street, London se1 1nl www.paulholberton.com 83 Designed by Laura Parker Bibliography and Photographic Credits Printing by Gomer Press, Llandysul front cover: Cat. 19 (detail) back cover: Cat. 7 (detail) frontispiece: Cat. 3 (detail, larger than actual size) Foreword Following A Civic Utopia, organised in 2016 with Drawing I wish to extend my warm thanks to Anita Viola Matter Trust, Artists at Work is the second exhibition in the Sganzerla, curator of the Katrin Bellinger collection, Gilbert and Ildiko Butler Drawings Gallery to present works who wrote the catalogue entries for this publication and chiefly from a single collection, other than The Courtauld’s contributed to many other aspects of the exhibition.
    [Show full text]
  • Courant 7/December 2003
    codart Courant 7/December 2003 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 12 The influence and uses of Flemish painting nl-1070 ka Amsterdam 3 News and notes from around the world in colonial Peru The Netherlands 3 Australia, Melbourne, National Gallery 14 Preview of upcoming exhibitions [email protected] of Victoria 15 codartpublications: A window on www.codart.nl 3 Around Canada Dutch cultural organizations for Russian 4 France, Paris, Institut Néerlandais, art historians Managing editor: Rachel Esner Fondation Custodia 15 codartactivities in fall 2003 e [email protected] 4 Germany, Dresden, Staatliche Kunst- 15 Study trip to New England, sammlungen Dresden, Gemäldegalerie 29 October-3 November 2003 Editors: Wietske Donkersloot, Alte Meister 23 codartactivities in 2004 Gary Schwartz 5 Germany, Munich, Staatliche 23 codart zevencongress: Dutch t +31 (0)20 305 4515 Graphische Sammlung and Flemish art in Poland, Utrecht, f +31 (0)20 305 4500 6 Italy, Bert W. Meijer’s influential role in 7-9 March 2004 e [email protected] study and research projects on Dutch 23 Study trip to Gdan´sk, Warsaw and and Flemish art in Italy Kraków, 18-25 April 2004 codart board 8 Around Japan 32 Appointments Henk van der Walle, chairman 8 Romania, Sibiu, Brukenthal Museum 32 codartmembership news Wim Jacobs, controller of the Instituut 9 Around the United Kingdom and 33 Membership directory Collectie Nederland, secretary- Ireland 44 codartdates treasurer 10 A typical codartstory Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, director of the Wegener Publishing Company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, member of the Dutch Labor Party faction codartis an international council for curators of Dutch and Flemish art.
    [Show full text]
  • Asselijn, Jan Also Known As Krabbetje Crabbetje Asselyn, Jan Dutch, C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Asselijn, Jan Also known as Krabbetje Crabbetje Asselyn, Jan Dutch, c. 1610 - 1652 BIOGRAPHY Jan Asselijn was a prominent landscape painter and draftsman in the Dutch Italianate tradition. Born in the French town of Dieppe, France, as a child Asselijn moved with his family to Amsterdam in 1621. There he studied with Jan Martszen the Younger (c. 1609–after 1647), a specialist in battle scenes, and produced two cavalry scenes, dated 1634 and 1635. Like many Dutch painters seeking to perfect their art, Asselijn traveled to Italy after his early training, probably after November 1635.[1] The experience would influence his painting for the rest of his life. In Rome, he became a member of the Bentvueghels (Dutch for “Birds of a Feather”), an association of northern artists who painted views of the sun-drenched Roman countryside, as well as picturesque scenes of everyday urban life. The group bestowed the nickname Crabbetje, or “little crab,” on Asselijn because of his deformed left hand.[2] Although no dated paintings survive from Asselijn’s time in Italy, his later works show the influence of the low-life street scenes of Pieter van Laer (Dutch, c. 1592 - 1642), as well as the light-infused landscapes of Jan Both (Dutch, 1615/1618 - 1652), both also members of the Bentvueghels. The renowned German writer Joachim von Sandrart praised the many “fine landscapes, small scenes, and animals,” that Asselijn made in Italy, while the Florentine art historian and biographer Filippo Baldinucci praised Asselijn’s renditions of capricci (“fantasies”) and his battle scenes.[3] Asselijn was also a prolific draughtsman, and produced many landscape drawings populated with ruins, animals, and peasants during outings in the Roman countryside with his colleagues.
    [Show full text]
  • As of January 1, 2020 the Leiden Collection Online Catalogue
    As of January 1, 2020 The Leiden Collection Online Catalogue Bibliography VAN DER AA 1865 Van der Aa, Abraham Jacob. Biographisch Woordenboek der Nederlanden. 21 vols. Harlem, 1852–78. ACADÉMIE ROYALE DE BELGIQUE 1866 Académie Royale de Belgique. Exposition de tableaux de maîtres anciens. Exh. cat. Brussels, Académie Royale de Belgique. Brussels, 1886. THE ACADEMY OF ARTS 1925 The Academy of Arts. Gemälde alter Meister aus Berliner Besitz. Ausstellung in der Akademie der Künste. Exh. cat. Berlin, The Academy of Arts. Berlin, 1925 ACKLEY 2003 Ackley, Clifford S. Rembrandt’s Journey: Painter, Draftsman, Etcher. Exh. cat. Boston, Museum of Fine Arts; Chicago, Art Institute of Chicago. Boston, 2003. ADAMS AND HAVERKAMP-BEGEMANN 1988 Adams, Ann Jensen, and Egbert Haverkamp-Begemann. Dutch and Flemish Paintings from New York Private Collections. New York, 1988. AKADEMIE DER KÜNSTE 1925 Akademie der Künste. Gemälde alter Meister aus Berliner Besitz. Ausstellung in der Akademie der Künste. Exh. cat. Berlin, Akademie der Künste. Berlin, 1925. ALEXANDER-KNOTTER, HILLEGERS, AND VAN VOOLEN 2006 Alexander-Knotter, Mirjam, Jasper Hillegers, and Edward van Voolen. The “Jewish” Rembrandt: The Myth Unraveled. Exh. cat. Amsterdam, Joods Historisch Museum. Zwolle, 2006. Originally published as De “joodse” Rembrandt: De mythe ontrafeld. Zwolle, 2006. ALFRED BROD GALLERY 1957 Alfred Brod Gallery. Winter Exhibition. Sales cat. London, Alfred Brod Gallery. London, 1957. ALFRED BROD GALLERY 1963 Page 1 of 198 Compiled by A. McCarthy & C. Van Cauwenberge As of January 1, 2020 Alfred Brod Gallery. Annual Autumn Exhibition of Dutch and Flemish Paintings of the 17th Century. Exh. cat. London, Alfred Brod Gallery. London, 1963.
    [Show full text]
  • 2020 Recent Acquisitions
    2020 RECENT ACQUISITIONS OLD MASTER PAINTINGS 11 Duke Street, St. James’s, London SW1Y 6BN Telephone: +44 (0) 20 7930 1144 Fax: +44 (0) 20 7976 1596 Email: [email protected] Website: www.rafaelvalls.co.uk @rafaelvallsgallery Member of SLAD ACKNOWLEDGEMENTS We are extremely grateful to the following for their generous help in the writing of this catalogue: Daphne Dorel, David Geggus, Claudine Lebrun Jouve, Kate Lowe, Jan Michel Massing, Elizabeth McGrath, Fred Meijer, Michael Ohajuru, Susan Peabody, Rowland Rhodes and Jamie Rountree. Front and Back Cover: Louis Gentile, Il Cousin ‘A Double Portrait of Adele, Daughter of the Comte de Carcasonne, together with Don Guillen Damiser de Moncada in Commemoration of their Marriage circa 1030’, (detail) cat. no. 14. Catalogue of Works The catalogue is arranged in alphabetical order 1. Jan Asselijn 2. Jan Asselijn 3. Osias Beert I 4. Jacob Bogdani 5. Ferdinand Bol 6. Bartolomeus Breenbergh 7. Elias van den Broeck 8. François Bunel II & Studio 9. Francesco Codino 10. Edwaert Collier 11. David Klöcker Ehrenstrahl 12. Marie Margaretha La Fargue 13. Frans Francken II 14. Louis Gentile, Il Cousin 15. Karl Girardet 16. Karl Girardet 17. Jan Josefsz van Goyen 18. Franciscus Gysbrechts 19. Samuel van Hoogstraten 20. Jules Romain Joyant 21. Carlo Labruzzi 22. Pascuale Mattej 23. Jan Miel 24. Circle of Robert Peake 25. Jean Pillement 26. Franz Rösel von Rosenhof 27. Enoch Seeman 28. John Thomas Serres 29. Johann Friedrich Seupel 30. Maerten Boelema de Stomme 31. Nicolas Antoine Taunay 32. Jan Tilius 33. Cornelis van de Velde 34. Charles Wautier 35.
    [Show full text]
  • Biografische Aanteekeningen Betreffende Voornamelijk
    No. timmisme amirecBimtnttrn BETREFFENDE VOORNAMELIJK AMSTERDAMSCHE SCHILDERS, PLAATSNIJDERS, ENZ. EN • HUNNE VERWANTEN. VERZAMELD DOOR Mr. A. D. DE VRIES Azn., Onder-Directeur van 's Rijks Pre?itenkabinet en. Mede-Redacteur van Oud-Holland, Overl. te Amsterdam, 8 Februari 1884. NIET IN DEN HANDEL. Gedrukt in 120 Exemplaren. Ter Drukker ij van de Uitgevers, GEBROEDERS BINGER, Warmoesstraat, 174. — AMSTERDAM, 1886. BETREFFENDE VOORNAMELIJK AMSTERDAMSCHE SCHILDERS, PLAATSNIJDERS, ENZ. EN HUNNE VERWANTEN. VERZAMELD DOOR Mr. A. D. DE VRIES Azn, Onder-Directeur van 's Rijks Prentenkabinet en Mede -Redacteur van Oud-Holland Overl. te Amsterdam, 8 Februari 1884. Digitized by the Internet Archive in 2014 https://archive.org/details/biografischeaantOOvrie A. Ondertr. 19 Mey 1638 Pieter van den Abele, van Middelburgh, Juwelier, out 30 Jaer, woon. inde Langebrughsteech, en Catharina de Boudoes, van A, out 18 jaer, geass. met Robbert de Boudous, haer vaeder, woon. inde verwery. (Kerk. huw. procl.) Hy noch ouders hebbende. Gedoopt 25 Aug. 1639. Oudekerk. Pieter zoon van Pieter van den Abeele en Katryna de Boudous; Pieter van Abeele en Helena Jacobs, getuigen. Gedoopt 13 Nov. 1642. Oudekerk. Robartus zoon van Pieter van den Abeele en Catarina Boudoes; Jacob van den Abeele en Sara Slichers getuigen. Gedoopt 19 Juni 1646. Oudekerk. Adriana dochter van Pieter van den Abeele en Catryne de Boudous ; Adriana Burchgraef, Samuel van den Abeele getuigen. Ondertr. Pieter van den Abeele de jonge, juwelier binnen desen stede [magtigt.] Sinjeur Hommer Jansz. woonendt tot Stockholm in Sweeden . omme ... te innen van Pieter Chamber, meede aldaer woonachtig, alle de Juweelen en andere effecten als hem van den constituant in commissie toegezonden zijn ..
    [Show full text]
  • Center 25 Center of Art National Gallery Arts Study in the Visual Center for Advanced
    Center 25 Center National Gallery of Art Arts Center for Advanced Study in the Visual center 25 National Gallery of Art, Washington Center 25 National Gallery of Art center for advanced study in the visual arts Center 25 Record of Activities and Research Reports June 2004–May 2005 Washington, 2005 National Gallery of Art center for advanced study in the visual arts Washington, D.C. Mailing address: 2000b South Club Drive, Landover, Maryland 20785 Telephone: (202) 842-6480 Fax: (202) 842-6733 E-mail: [email protected] Web site: www.nga.gov/resources/casva.htm Copyright © 2005 Board of Trustees, National Gallery of Art, Washing- ton. All rights reserved. This book may not be reproduced, in whole or in part (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law, and except by reviewers from the public press), without written permission from the publishers. Produced by the Center for Advanced Study in the Visual Arts and the Publishing Office, National Gallery of Art, Washington issn 1557-198x (print) issn 1557-1998 (online) Editor in Chief, Judy Metro Managing Editor, Cynthia Ware Production Manager, Chris Vogel Design Manager, Margaret Bauer CASVA Project Manager for Center Reports, Karen Binswanger Editorial Assistant, Caroline Weaver Designed by Patricia Inglis, typeset in Sabon by Duke & Company, Devon, Pennsylvania, and printed on Centura Dull by Stephenson Printing Inc., Alexandria, Virginia Cover: Design study for the East Building (detail), I. M. Pei & Partners, National Gallery of Art East Building Design Team, c. 1968. National Gallery of Art, Washington, Gallery Archives Half-title page: I.
    [Show full text]
  • The Tiber River with the Ponte Molle at Sunset C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Jan Asselijn Dutch, c. 1610 - 1652 The Tiber River with the Ponte Molle at Sunset c. 1650 oil on canvas overall: 41.2 × 54 cm (16 1/4 × 21 1/4 in.) Inscription: lower right, in monogram: JA Florian Carr Fund, New Century Fund, and Nell and Robert Weidenhammer Fund 2012.129.1 ENTRY Jan Asselijn’s radiant painting depicts a quiet late afternoon scene unfolding along the Tiber River near the Ponte Molle, also known as the Milvian Bridge. Forming part of the Via Flaminia, which linked Rome to Florence, this bridge spanned the river just north of the Eternal City and was its principal access from the north. [1] The Milvian Bridge gained great fame as the site of Constantine the Great’s decisive battle against Maxentius in 312 CE, after which Constantine converted to Christianity. [2] For Asselijn, however, this historic event was of less significance than the bridge’s picturesque character and the way it evoked the quiet beauty of the countryside in the Tiber River valley. A herder driving his cattle through the water and two horsemen, who have stopped to converse along the river’s bank, activate the painting’s foreground, their importance to the scene evident in the vivid accents of light falling on their bodies. At right, a well-dressed gentleman gestures to a boatman, whose small cargo vessel drifts along the current as it passes through one of the bridge’s arches. From atop the Ponte Molle, two figures observe the activity below.
    [Show full text]
  • Proquest Dissertations
    NOTE TO USERS This reproduction is the best copy available. ® UMI I "Beschildert met een Glans": Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting Tanya Paul Falmouth, MA B.A. University of Massachusetts, Amherst, 1998 M.A. University of Virginia, 2002 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art History University of Virginia May, 2008 UMI Number: 3312159 Copyright 2008 by Paul, Tanya All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3312159 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Tanya Paul All Rights Reserved May 2008 Volume I Ill Abstract: In his 1718 biography of the still life painter Willem van Aelst (1627-1683), Arnold Houbraken describes the artist's grand disposition and his great pride. It is this somewhat biased biography which begins to intimate the nature not only of van Aelst's personality, but also of his work.
    [Show full text]