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Scarica L'articolo a Cura Di F. Lo Conte, Sulle Lettere Inedite Di B. G
FRANCESCO LO CONTE (Università degli Studi di Bergamo) Un addendum all’edizione: B.G. Niebuhr, Briefe. Neue folge (1816-1830). I. Briefe aus Rom (1816-1823). Tre lettere inedite di B.G. Niebuhr ad Angelo Mai* The present article gives the first edition of three letters, until now unknown, written by the Danish Altertumswissenschaftler Barthold Georg Niebuhr (1776-1831) to Angelo Mai (1782-1854) in 1822 and 1823, when Niebuhr was ambassador of the king of Prussia Frederick William III at the Holy See and Mai was the first librarian of the Biblioteca Apostolica Vaticana. These letters, preserved in a not too known archive group held in the Historical Archive of the Diocese of Bergamo, show the close relationship between the two personages and especially Niebuhr’s effort in spreading beyond the Alps the fundamental editiones principes published by Mai, such as Cicero’s De re publica and the Fragmenta Vaticana iuris anteiustinianei. The article also aims to rebuild unknown aspects of the history of these two editions, moving from other unpublished letters written by Mai or by his correspondents and likewise preserved in the Historical Archive of the Diocese of Bergamo. Dopo un primo pionieristico saggio a cura di Dora Hensler (Hensler 1838-1839), la raccolta integrale delle lettere scritte da Barthold Georg Niebuhr (1776-1831) apparve in due differenti edizioni. La prima (“Alte Folge”), a cura di Dietrich Gerhard e William Norvin (Gerhard / Norvin 1928-1929), copre la corrispondenza fino al 1816, mentre la seconda (“Neue Folge”), pubblicata a cura di Eduard Vischer (Vischer 1981- 1984), raccoglie in quattro volumi tutta la corrispondenza successiva, intercorsa tra il luglio 1816 e il dicembre 18301. -
Forest Scene Or a Panoramic View of Haarlem
ebony frames, Isaack van Ruysdael was also a paint of Haarlem on 14 March 1682, but may well have er. Jacob van Ruisdael's earliest works, dated 1646, died in Amsterdam, where he is recorded in January were made when he was only seventeen or eighteen. of that year. He entered the Haarlem painters' guild in 1648. It is One of the greatest and most influential Dutch not known who his early teachers were, but he prob artists of the seventeenth century, Ruisdael was also ably learned painting from his father and his uncle the most versatile of landscapists, painting virtually Salomon van Ruysdael. Some of the dunescapes every type of landscape subject. His works are char that he produced during the late 1640s clearly draw acterized by a combination of almost scientific on works by Salomon, while his wooded landscapes observation with a monumental and even heroic of these years suggest he also had contact with the compositional vision, whether his subject is a dra Haarlem artist Cornelis Vroom (c. 1591 -1661). matic forest scene or a panoramic view of Haarlem. Houbraken writes that Ruisdael learned Latin at Early in his career he also worked as an etcher. the request of his father, and that he later studied Thirteen of his prints have survived, along with a medicine, becoming a famous surgeon in Amster considerable number of drawings. dam. Two documents are cited by later authors in In addition to Ruisdael's numerous followers, support of the latter claim, the first being a register most important of which were Meindert Hobbema of Amsterdam doctors that states that a "Jacobus and Jan van Kessel (1641 /1642-1680), the names of Ruijsdael" received a medical degree from the Uni several other artists are associated with him by virtue versity of Caen, in Normandy, on 15 October 1676. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 13001700 Sheila McTighe Representing from LifeLife inin Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth-century Italy 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 me- dieval 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 Representing from Life in Seventeenth- century Italy Sheila McTighe Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Claude Lorrain. An artist studying from nature. 1639. Oil on canvas. Cincinnati Art Museum, Ohio, USA / Gift of Mary Hanna / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus isbn 978 94 6298 328 1 e-isbn 978 90 4853 326 8 doi 10.5117/ 9789462983281 nur 685 © S. -
A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde
A CATALOGUE OF THE PAINTINGS IN THE COLLECTION of SIR FREDERICK COOK, BT. A CATALOGUE OF THE PAINTINGS AT DOUGHTY HOUSE RICHMOND AND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE Edited by HERBERT COOK, M.A., F.S.A. VOLUME I ITALIAN SCHOOLS By DR TANCRED BORENIUS LONDON • WILLIAM HEINEMANN A CATALOGUE OFTHE PAINTINGS AT DOUGHTY HOUSE RICHMOND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE EDITED BY HERBERT COOK, M.A., F.S.A. HON. MEMBER OF THE ROYAL ACADEMY OF MILAN VOLUME II DUTCH AND FLEMISH SCHOOLS By J. O. KRONIG LONDON WILLIAM HEINEMANN M DCCCC XIV PREFATORY NOTE THE second volume of the Cook colledtion is devoted to the Dutch and Flemish Schools. The art of the so-called School of the Early Netherlands is reserved for the third volume, which will also contain the English, French, German and Spanish se&ions. In the present volume 190 Dutch and Flemish piitures are recorded, and of these 100 are illustrated either on photogravure plates or by collotype process. The former are executed by the Rembrandt Photogravure Co., of 36 Basinghall Street, E.C.; the latter are the work of Messrs Knighton & Cutts, of Red Lion Court, Fleet Street, E.C. As in the previous volume, single photographs can be obtained either from Signor Domenico Anderson, of Rome, or from Mr W. E. Gray, of 92 Queen’s Road, Bays- water; the register number for ordering is always quoted whenever the photograph exists. The text has been entrusted to Mr J. -
Sotheby's Old Masters Evening Sale London | 05 Dec 2018, 07:00 PM | L18036
Sotheby's Old Masters Evening Sale London | 05 Dec 2018, 07:00 PM | L18036 LOT 13 THE PROPERTY OF A PRIVATE COLLECTOR JACOB ISAACKSZ. VAN RUISDAEL HAARLEM 1628/9 - 1682 AMSTERDAM A HAARLEMPJE: A PANORAMIC VIEW OF HAARLEM AND THE BLEACHING FIELDS SEEN FROM THE NORTH-WEST signed lower left: JvRuisdael oil on canvas 53.5 x 67.5 cm.; 21 1/8 x 26 5/8 in. ESTIMATE 1,500,000-2,000,000 GBP PROVENANCE Possibly Le Bas Courmont sale, Paris, 1792; Héris of Brussels, acting for Colonel Biré; By whom sold, Paris, Paillet, 25–26 March 1841, lot 20, for 6,750 Francs; Tardieu and others sale, Paris, Drouot, 4 February 1851, lot 19, for 5,800 Francs to Le Roy; Théodore Patureau; His sale, Paris, Drouot, 20–21 April 1857, lot 29, for 9,700 Francs; Maurice Kann (1840–1891), Paris; With F. Kleinberger, Paris and New York, 1913; August Cornelius de Ridder (1837–1911), Villa Schönberg, Cronberg-im-Taunus; Marcus Kappel (1839–1919), Berlin, by 1914; His grandson, Dr Gerhart Noah, Berlin; By inheritance to his cousin, Walther Rathenau, Berlin; Ernst (later Ernest) G. Rathenau, Berlin and from 1938 New York; Left by Rathenau for safekeeping with his cousin Dr F.J. Sedlmayr in 1939; From whom seized by the occupying German forces in Amsterdam and bought through Mühlmann by Hitler on 15 February 1941 for the Führer Museum in Linz (inv. no. 1436); Recovered via the Munich Collecting Point where registered on 15 July 1945 (no. 4336), and transferred to the Dutch authorities on 29 March 1946; Stichting Nederlands Kunstbezit, inv. -
Hiding in Plain Sight: Kίνησις at the Core of Heidegger's Work
1 HIDING IN PLAIN SIGHT: Κίνησις at the Core of Heidegger’s Work (Prolegomenon) Thomas Sheehan <[email protected]> Bolletino filosofico XXV 2020 Abstract 1 Thesis: The tacit presupposition underlying all of Heidegger’s work, both early (regarding Dasein) and late (regarding Ereignis), was his retrieval of the unsaid in Aristotelian κίνησις. As the prologue to a work-in- progress, this essay discusses how Heidegger’s approach to phenomenology laid the groundwork for his rereading of κίνησις. Heidegger argued that Aristotle 1. understood κίνησις (movement) ontologically as a form of being; 2. worked within an implicit proto-phenomenological reduction of οὐσία (being) to παρουσία/ ἀλήθεια (intelligibility). 3. In turn, Heidegger, interpreted παρουσία/ἀλήθεια in terms of κίνησις on three distinct but interre- lated levels. This prologue prepares the way for a discussion of Heidegger’s readings of Physics III 1-3 and Metaphysics IX and their impact on the topics of Dasein and Ereignis. _________ Alles ist Weg On May 12, 1971, at his home in Freiburg/Zähringen, Heidegger told a young visitor that if he wanted to understand Heidegger, he first had to understand the two interrelated issues that had guided him to the heart of his thinking: • Husserl’s categorial intuition of being in Logical Investigations, vol. 2, VI/6 and • Aristotle’s doctrine of κίνησις in Physics III 1-3. The first text, he indicated, led him to revise his earlier understanding of the second. That is to say, once he correctly understood it, phenomenology reshaped his reading of κίνησις in Aristotle.2 1 Abbreviations in this text: Heidegger’s Gesamtausgabe is abbreviated as GA followed by the volume and page numbers, followed, after a period, by the number of the line or lines on that page. -
BAMBOCCIANTI SCHOOL (Before 1650)
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com BAMBOCCIANTI SCHOOL (before 1650) A Shepherd Boy in a Landscape Oil on canvas 70 x 60 cm PROVENANCE Baron Vetter von der Lilie, Hautzenbichl Castle, Knittenfeld, Austria; from whom purchased by the previous owner in 1950 The Bamboccianti were genre painters active in Rome from about 1625 until the end of the seventeenth century. Most were Dutch and Flemish artists, including Andries and Jan Both, Karel Dujardin, Jan Miel and Johannes Lingelbach, who brought existing traditions of depicting peasant subjects from sixteenth-century Netherlandish art with them to Italy. The name, meaning ‘ugly doll’, derived from the nickname of Pieter van Laer, credited with initiating the Bamboccianti School, due to his ungainly proportions. In Rome during this period, the work of the Bamboccianti School served as an important countermovement which eschewed the lofty subject matter and grand scale of the conventional art of the time. Artists such as Salvator Rosa lamented that the city had been invaded by a group of painters whose works represented “nothing but rogues, cheats, pickpockets, bands of drunks and gluttons, scabby tobacconists, barbers, and other sordid subjects”1. Rosa was outraged that 1 Levine, David A. (December 1988). "The Roman Limekilns of the Bamboccianti". The Art Bulletin (College Art Association) 70 (4): 569–589 Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. -
Jacob Van Ruisdael
picture is known to me only from a photograph, and 2. Cross-sections and pigment analysis of paint and I am not entirely convinced of its authenticity."4 ground layers are available in the conservation laboratory's Kurt Bauch subsequently rejected it, as did Horst files. Pigments identified in the upper painting were available 5 during the seventeenth century. Gerson. Jakob Rosenberg is the only modern Rem 3. Widener 1913-1916, no. 32. 6 brandt scholar to accept it as authentic. The Na 4. Martin 1921, 34; Bredius 1935, 11. tional Gallery changed its attribution to "Style of 5. Bauch 1966, 47; Gerson/Bredius 1969, 568. Rembrandt" in 1984. 6. Rosenberg 1948, 1: 244, in his concordance of paint This painting is one of a large number of rapidly ings agrees with the conclusion reached by Bredius in the 1942 New York edition of Bredius 1935 (no. 243). Rosenberg executed oil sketches that Valentiner introduced into had not changed his opinion in the 1964 rev. ed., 371, of his Rembrandt's oeuvre in the early years of the twen monograph. tieth century. Most of these attributions have now 7. Report from Dr. Josef Bauch of the Ordinariat fur been rejected. Indeed, the painting has only the Holzbiologie, Universitat Hamburg, 29 November 1977 (in vaguest resemblance to Rembrandt's work. The NGA curatorial files). figure type is uncharacteristic for Rembrandt; the References anatomy of the head is not understood; and the 1907-1927 HdG, 6(1916): 233, no. 448. superficial modeling of the skin and hair is foreign to 1908 Widener (typescript) 2: 173. -
Frederik De Moucheron and Adriaen Van De Velde
FREDERIK DE MOUCHERON AND ADRIAEN VAN DE VELDE (Emden 1633 - Amsterdam 1686) (Amsterdam 1636 - Amsterdam 1672) A Hawking Party at the Foot of an Ornamental Staircase, with a Mountainous Landscape Beyond signed and dated ‘Moucheron f 1667’ (lower right) oil on canvas 86.3 x 72.7 cm (34 x 28⅝ in) Provenance: with Thomas Agnew & Sons Ltd., London. purchased in 1961 by Sir James Hunter-Blair, 7th Baronet (1889-1985), Blairquhan Castle, Scotland, for £600; by descent to Sir Edward Hunter-Blair, 8th Baronet (1920-2006). Literature: Francis Russell, ‘Confidence and Taste: The Blairquhan Collection’ in Country Life, 14 August 1986, p.502; Nina Wedde, Isaac de Moucheron (1667-1744): his Life and Works with a Catalogue Raisonné of his Drawings, Watercolours, Paintings, and Etchings, vol. 1, (Peter Lang, 1996), p.30. REDERIK DE MOUCHERON’S A HAWKING PARTY AT the Foot of an Ornamental Staircase, with a Mountainous Landscape beyond presents the preparations for a hunt, amidst a splendid, classical landscape. The figures, painted by Moucheron’s frequent collaborator Adriaen van de Velde, are set in the shadow of an imposing ornamental fstaircase. Flanking the staircase are two pedestals, crowned by a monumental urn and a sculpture of Apollo playing the lyre. This sculpture appears elsewhere in de Moucheron’s work, for example the Victoria and Albert Museum’s Rocky Landscape with a Statue, a Broken Column and Figures.¹ The present work is typical of Moucheron’s work, and particularly Adriaen van de comparable to the Louvre’s Setting off for the Hunt,which also depicts a hunting Velde, party at the foot of an ornamental staircase (fig. -
A Wooded River Landscape with a Traveller on a Track Signed ‘Moucheron’ (Lower Right, on the Rock) Oil on Canvas 61 X 78.1 Cm (24 X 30¾ In)
Frederik de Moucheron (Emden, Germany 1633 - Amsterdam 1686) A Wooded River Landscape with a Traveller on a Track signed ‘Moucheron’ (lower right, on the rock) oil on canvas 61 x 78.1 cm (24 x 30¾ in) Frederik de Moucheron’s majestic landscape, caught moments before the evening light dwindles into a brilliant sunset, inspires a serene and nostalgic atmosphere. The tranquillity of this bucolic ideal is brought to life by his exceptional contouring with its alternating bands of light and shade. The beautiful perspective of the work is created with a foreground interest of slender trees which act as a neat framing device. Both the winding river and the complementary curve of the dappled lowland with its mounted traveller, establish a broad and spacious view. Other human activity is evident on the curved path leading up to the castle ruins, where a shepherd tends to his small flock. There is also, in the middle distance, a modest dwelling place, its tall chimney positioned to the far left of the painting’s centre point. Strong Italianate influences can be detected in the luminous silvering of the tree trunks and their delicately highlighted leaves. Similar silvering can be seen in another of de Moucheron’s works, An Extensive Wooded Landscape (Private Collection). De Moucheron was heavily influenced by the second generation of Dutch Italianate artists who numbered Jan Asselijn (after 1610-1652), under whom he trained, Jan Both (c.1618-1652) and Nicholas Berchem (1620-1683) among others. These artists, active in Rome and the Netherlands from the 1630s onwards, incorporated classical architecture into their otherwise naturalistic scenery. -
The Unity of Aristotle's Metaphysics Book Ε According
Journal of Ancient Philosophy J. anc. philos. (Engl. ed.), São Paulo, v.12, n.1. p. 89-132, 2018. ISSN 1981-9471 - FFLCH/USP DOI: http://dx.doi.org/10.11606/issn.1981-9471.v12i2p89-132 www.revistas.usp.br/filosofiaantiga The Unity of Aristotle’s Metaphysics Book Ε according to the Interpretation of the Ancient Commentators Rita Salis This paper discusses the three ancient commentaries on Book E of Aristotle’s Metaphysics, that have been handed down to us. It aims to demonstrate the fundamental part played by their particular interpretation of Aristotle’s doctrines in the birth of the traditional interpretation of his Metaphysics, according to which all the books comprising the work were written as a function of Book Λ, containing the well-known doctrine of the unmoved mover. Among the main elements supporting this assumption there is Aristotle’s distinction between three types of science - the theoretical, the practical and the productive - and his claiming the primacy of metaphysics as a theological science. According to the ancient commentators, the remainder of Book E would belong to the unitary project of the Metaphysics, since it would indicate what is not encompassed in the object of metaphysics. This would mean that Aristotle’s treatment of accidental being, being as truth and not-being as falsity, and being potentially and actually would take on a negative function. The theological interpretation of Aristotle’s Metaphysics thus retains its ultimate foundations in premises contained in the Aristotelian text itself. Introduction This paper aims to demonstrate that one of the essential foundations for the theologizing interpretation of Aristotle’s metaphysics that characterizes the whole tradition of the ancient commentaries, according to which all the books in the Metaphysics would be steps along a path towards the divine substance (a topic developed, as we know, in the second part of Book Λ), lies in the ancient commentators’ interpretation of Book Ε.