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New, Old, & Unexpected Ii Robert Simon Fine
NEW, OLD, & UNEXPECTED II ROBERT SIMON FINE ART NEW, OLD, & UNEXPECTED II CATALOGUE BY Dominic Ferrante and Robert B. Simon ROBERT SIMON FINE ART Front cover: CONTENTS Gaspar Antoine de Bois-Clair, Double Portrait of King Frederik IV and Queen Louise of Mecklenburg-Güstrow of Denmark, oil on wood strips, laid on panel, 15 ½ x 12 ¾ inches (39.4 x 32.4 cm) Back cover: William Cave Thomas,The Argument, pencil and watercolor on paper, 23 ½ x 18 ½ inches (59.6 x 47 cm) INTRODUCTION 6 High-resolution digital photographs and WORKS 8 condition reports of the works included in this catalogue are available upon request. INSTALLATION 52 All prices are accurate as of October 2020 and are inclusive of the costs of packing, shipping, and ENTRIES 62 insurance to domestic destinations. ENDNOTES 120 © 2020 Robert Simon Fine Art, Inc. Photography by Glenn Castellano ROBERT SIMON FINE ART 22 EAST 80TH STREET · NEW YORK · NY · 10075 TEL: 212·288·9712 FAX: 212·202·4786 BY APPOINTMENT AT: SATIS HOUSE 53 TOWER HILL ROAD EAST · TUXEDO PARK · NY · 10987 TEL: 845·351·2339 FAX: 845·351·4332 ROBERT B. SIMON DOMINIC FERRANTE JR. [email protected] [email protected] INTRODUCTION The second edition ofNew, Old, & Unexpected expands each category. The newest of the “New” is a 2020 work by the New York artist Brendan H. Johnston—a trompe l’oeil triptych that wittily explores issues of material, craft, and illusion. The oldest of the “Old” is a predella by Miguel Alcañiz, the Valencian painter who was a key figure in the transmission of trecento Tuscan style into Spain. -
Laura Stagno Figurae Mariae Iconography of the Virgin and Of
Laura Stagno Figurae Mariae Iconography of the Virgin and of Her Biblical Prefigurations in Early Modern Decorative Cycles in the Republic of Genoa UDC: 75.04(450.42Genoa)”15/16” Laura Stagno University of Genoa, Italy [email protected] In the last years of the 16th century and then in the 17th century, the Republic of Genoa became an advanced laboratory for the dissemination of Marian images, in some cases reinforced by the association with the biblical heroines who were consid- ered to be the Virgin’s prefigurations in the Old Testament. The richness and complexity of the typological parallels between such crucial iconographies as Mary’s Assumption and her Immaculate Conception on the one hand, and the figures of Eve (a negative typus), Judith and Esther on the other hand, developed in post-Tridentine literature and homiletics, found a per- suasive visual translation in frescoes by prominent Genoese painters such as Andrea Ansaldo, Giulio Benso, Giovanni Battista Carlone and Domenico Piola, often commissioned by religious orders, as militant art aimed at asserting Catholic doctrines. Keywords: Genoese 17th century painting, Genoese fresco cycles, biblical prefigurations of Mary, Eve, Judith, Esther, Jael, Assumption, Immaculate Conception “Glorious Queen, and Merciful Advocate” – this is how the Jesuit Vincenzo Bruno, building on a long and rich tradition rooted in patristic literature, defined the Virgin Mary in the address to the reader that opens his influential Meditations on the Virgin’s festivities, first published in 1585 and frequently reissued. 1 These two se- mantic poles - the glory on the one hand, and the role of mediatrix2 on the other hand - are at the centre of the celebration of the Madonna’s role undertaken by a vast number of Catholic authors and preachers in the Triden- tine and post-Tridentine era. -
Exhibition Checklist: a Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022
UPDATED: 8/11/2020 10:45:10 AM Exhibition Checklist: A Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022 The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings National Gallery of Art; Piero Boccardo, superintendent of collections for the City of Genoa; and Franco Boggero, director of historic and artistic heritage at the Soprintendenza Archeologia, Belle Arti e Paesaggio, Genoa. The exhibition is organized by the National Gallery of Art, Washington, and the Scuderie del Quirinale, Rome, with special cooperation from the City and Museums of Genoa. The exhibition is made possible by the Robert Lehman Foundation. Additional funding is provided by The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Press Release: https://www.nga.gov/press/exh/5051.html Order Press Images: https://www.nga.gov/press/exh/5051/images.html Press Contact: Laurie Tylec, (202) 842-6355 or [email protected] Object ID: 5051-345 Valerio Castello David Offering the Head of Goliath to King Saul, 1640/1645 red chalk on laid paper overall: 28.6 x 25.8 cm (11 1/4 x 10 3/16 in.) National Gallery of Art, Washington, Rosenwald Collection Object ID: 5051-315 Giovanni Benedetto Castiglione The Genius of Castiglione, before 1648 etching plate: 37 x 24.6 cm (14 9/16 x 9 11/16 in.) sheet: 37.3 x 25 cm (14 11/16 x 9 13/16 in.) National Gallery of Art, Washington, Gift of Ruth B. -
Genoa and Its Treasures
Comune di Genova - Ufficio sviluppo e Promozione del Turismo Palazzo delle Torrette - Via Garibaldi, 12r [email protected] www.genova-turismo.it Tourist Information Centres (T.I.C.) IAT Via Garibaldi Useful info: Via Garibaldi 12r Ph. +39 010 55 72 903/ 751 Genoa Aquarium Fax +39 010 55 72 414 www.acquariodigenova.it (7/7 - h. 9.00 - 18.30) C. Colombo Airport [email protected] Ph. +39 010 60 151 - www.airport.genova.it IAT De Ferrari City sightseeing open top bus Largo Pertini 13 Genova in Tour Pesci Viaggi Ph. +39 010 86 06 122 Ph. +39 010 53 05 237 - Mobile +39 328 98 55 419 Fax +39 010 86 06 476 www.pesciviaggi.it (7/7 - h. 9.00 - 13.00 / 14.30 - 18.30) [email protected] Hop-on hop-off city tour CITYSIGHTSEEING GENOVA IAT C. Colombo Airport (arrivals area) Ph. +39 010 86 91 632 Genova - Sestri Ponente www.genova.city-sightseeing.it Ph./Fax +39 010 60 15 247 (7/7 - h. 9.00 - 13.00 / 13.30 - 17.30) Genoa Museums [email protected] www.museidigenova.it - www.rolliestradenuove.it Radio Taxi Walking guided tour to the historical centre Ph. +39 010 5966 - www.cooptaxige.it and the Palazzi dei Rolli, UNESCO World Heritage Visit of the city with little train Every weekend you can visit the historical city Trenino Pippo centre and discover the fascination of some of Ph. +39 328 69 42 944 - www.treninopippo.it the famous Palazzi dei Rolli. Trains More information about costs and languages Ph. -
Domenico Piola and His Drawings
DOMENICO PIOLA AND HIS DRAWINGS: A STUDY OF HIS FRESCO PREPARATIONS By TESSA MARIECHEN TER HORST Bachelor of Arts, 2017 University of Denver Denver, CO Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 DOMENICO PIOLA AND HIS DRAWINGS: A STUDY OF HIS FRESCO PREPARATIONS Thesis Approved: Major Professor, Dr. Babette Bohn, Professor of Art History Dr. Jessica Fripp, Assistant Professor of Art History Dr. Nancy Edwards, Curator of European Art, Kimbell Art Museum Dr. Joseph Butler, Associate Dean, College of Fine Arts ii iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my primary thesis advisor, Dr. Babette Bohn, for her support and guidance through the thesis process. I also want to thank my other thesis committee members, Dr. Jessica Fripp and Dr. Nancy Edwards, whose expertise and advice greatly enhanced my thesis. I would like to thank the staff of the Palazzo Rosso, the British Museum, the Victoria and Albert Museum, the Blanton Museum of Art, and the Morgan Library for aiding my primary research at their collections. A special thanks to Dr. Margherita Priarone at Palazzo Rosso for kindly directing me through their collection- Grazie! I would like to express my gratitude to Dr. Lori Diel, Dr. Mark Thistlethwaite, and Dr. Frances Colpitt for their continued support throughout the program. Thank you to Edith Riley- Peinado, Taylor Day, and Hannah Plank in the Visual Resource Library for their constant encouragement and help with any issues, technological or otherwise. -
OGGETTO: Rita Dugoni (Funzionario Storico Dell'arte, Area
OGGETTO: Rita Dugoni (Funzionario Storico dell’Arte, Area III - F5). Partecipazione all’interpello per Area III - Patrimonio Storico Artistico del 01/03/2019 (prot. 6326, del 11/03/2019). Curriculum CURRICULUM 11/09/2000 Assunzione a tempo indeterminato presso il Ministero Beni e Attività Culturali (profilo iniziale “collaboratore storico dell’arte”); Titoli culturali 1988 - laurea in Lettere moderne presso l'Università degli Studi di Genova con la tesi: Giuseppe Palmieri: ricerche per un catalogo dell'opera pittorica, a.a. 1987-1988 (relatrice E. Gavazza, correlatore F. R. Pesenti), conseguita il 27/06/1988 con punti 110/110 e lode; 1993 - titolo di Dottore di Ricerca in Storia dell'Arte presso l'Università degli Studi di Pisa (V ciclo -1989/1992) (durata triennale), conseguito in data 12/11/1993 presso il Ministero dell'Università e della Ricerca Scientifica e Tecnologica, con la tesi: Sebastiano Galeotti: itinerario pittorico di un artista settecentesco, 2 voll. (tutor R. P. Ciardi); 1997 - diploma di Specialista in Storia dell’Arte (indirizzo medievale e moderno) (durata triennale) presso l’Università degli Studi di Genova a.a. 1995-1996 con la tesi: Analisi dell’opera di Domenico Piola attraverso il manoscritto delle “vite” di Carlo Giuseppe Ratti (relatrice E. Gavazza) conseguito in data 14/04/1997 con punti 50/50 e lode; Abilitazioni 1990 - abilitazione all'insegnamento della Storia dell'Arte conseguita nel concorso ordinario a cattedre (D.M. 23/3/1990) presso la Sovrintendenza Scolastica Regionale della Lombardia; Borsa di ricerca in Storia dell’Arte 1997 - Vincitrice della borsa di ricerca bandita dalla Compagnia di San Paolo di Torino su Artisti attivi in Piemonte dal XVI al XIX secolo per l’anno 1997-1998. -
Paola Ceschi Lavagetto
©Ministero per beni e le attività culturali-Bollettino d'Arte PAOLA CESCHI LAVAGETTO LA u GALLERIA '' DI DOMENICO PIOLA RITROVATA ecenti lavori all'interno di un appartamento al piano procedette più per aggregazione che per un progetto uni R_ nobile del Palazzo Baldini di Piacenza, hanno ripor tario: al corpo centrale si affiancarono altre costruzioni, tato in luce, almeno parzialmente, il ciclo di affreschi organizzate attorno a tre cortili, con uno sviluppo impo della Galleria, eseguito da Domenico Piola durante il suo nente, fino a raggiungere più di 8o metri di fronte. 6l soggiorno nella città negli ultimi mesi del 1684, subito Nel 1707 la Galleria già minacciava rovina e venne rin prima dell' ornamentazione del coro della chiesa di Santa forzata da longaroni di ferro; ciò aveva fin qui fatto rite Maria in Torricella; entrambe le opere documentate dal nere perduta la decorazione. In realtà tutto il vano ad Ratti, r) erano ritenute fin qui perdute. I dipinti della essa corrispondente era stato profondamente modificato chiesa, ricordati dalle guide ottocentesche fino al t86t, soprattutto a causa della suddivisione in proprietà di vennero probabilmente distrutti in un incendio, che causò verse, e l'adattamento in appartamenti, seguito, dopo il la temporanea chiusura dell'edificio dal t86o al 1864. 2l 1939, alla vendita del palazzo da parte della famiglia Il ciclo di Palazzo Baldini viene registrato, a partire dal Radini Tedeschi, a cui era pervenuto per eredità. 1703, in tutti gli inventari patrimoniali della famiglia, 3) Soltanto le raffigurazioni di ' Ercole in riposo' (TAv. che permettono di seguire con una certa esattezza le varie XIII) nell'orto delle Esperidi e di ' Ercole sostiene il Mon fasi di costruzione del fabbricato e l' ornamentazione degli do ' (fig. -
Piacenza Musei, Because of Two Important Contexts: the 20Th Anniversary of Our Association and the Extraordinary Event of EXPO Milan 2015
Piacenza &itsprovince Museums | Churches | Palaces Museums& Land Monuments | Theatres Guidebook Castles | Landscapes | Taste Museums&Land Guidebook PIACENZA &itsprovince piacenzamusei.it Why this Guidebook? 2015 will remain an important year for Piacenza Musei, because of two important contexts: the 20th anniversary of our association and the extraordinary event of EXPO Milan 2015. This Guidebook is another important and useful instrument created by Piacenza Musei to help you discover – and learn more about – Piacenza, called La Primogenita, its art, museums, architecture, landscapes and its province. The newest edition of the pocket Guide of Piacenza Musei, hold the history, culture, traditions, aromas, flavours and images of the city of Piacenza and its province conducting the reader through the paved city streets, accompanying him on the roads surrounded by green landscapes along our four valleys and offering him a taste of that vibrant, colourful essence, which identifies us and our territory. This Guidebook illustrates and explains an extraordinarily rich heritage, which deserves to be celebrated and appreciated nationally and internationally. It is the culmination of the painstaking research, organization and management needed to put it all together. With this publication we reach another goal – a new addition to the way, which brought the Association Piacenza Musei to the creation of important products, like Panorama Musei (the official magazine with information about artistic and cultural activities in town and around the province, distributed in Italy) and Portale Piacenza Musei (online instrument with Piacenza and province’s treasures). Of course, we also organize many initiatives and cultural events so people can learn to love our history, our traditions, and our amazing artistic, architectural and panoramic jewels. -
Gallery Copy
w GALLERY COPY This exhibition is presented in collaboration by the British Museum, the Museum of New Mexico Foundation and the New Mexico Museum of Art, a division of the New Mexico Department of Cultural Affairs. w JANUARY 25 – APRIL 19, 2020 Unless otherwise stated all images are © The Trustees of the British Museum. All rights are reserved for the written content of this booklet by © The Trustees of the British Museum. Giovanni Battista Pasqualini, The Incredulity of St. Thomas, after Guercino, 1621. Image © The Trustees of the British Museum. 1 St. Louis He was King Louis IX of France, born in 1214 and dying in 1270. Louis was a follower of St. Francis of Assisi and known for his piety and devotion to the poor. He invited hundreds of poor subjects to his palace every day where he served them and attended to their needs. He personally led two Crusades to the Holy Land. He founded the beautiful Church of St. Chapelle in Paris where he placed the supposed Crown of Thorns. St. Mary Magdalene Mary is identified as a Jewish woman who was a devoted follower of Christ, witnessing his crucifixion, burial, and resurrection. She was reported to be a repentant prostitute who revered Christ. In art, she is shown as washing Christ’s feet with her tears and drying them with her hair. In return, Christ forgives her and absolves her of all her sins. According to the Gnostic Gospel of Mary, after Christ’s death she acted as a spiritual guide spreading his teachings. This exhibition presents a selection of Italian prints and drawings from the British Museum in London. -
The Jobat the Bilbao Fine Arts Museum
The Job at the Bilbao Fine Arts Museum New ideas and recently identified paintings by the young Piola Anna Orlando This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Arti Doria Pamphilj, Genova: fig. 2 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1 and 10 © Collezione Koelliker, Milano: figs. 4 and 5 © Galleria Palazzo Bianco, Genova: fig. 3 © Oratorio della Morte e Orazione, Genova: fig. 13 © Oratorio di San Giacomo Della Marina, Genova: fig. 7 © Reinisches Bildarchiv, Köln: figs. 11 and 12 © RMN / Thierry Le Mage: fig. 14 © Wallraf-Richartz-Museum/Fondation Corboud, Köln: fig. 9 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 125-144. Sponsored by: painting of Job, by Piovera (Piola)” figures in the list of the assets of the late Gio1. Stefano Perrazo “A auctioned in Genoa in July 16682. A review of the original document, still kept in the State Archive in Genoa, which is where the above quote comes from, fills in some of the gaps in our knowledge of this painting and leads us to conclude that it coin- cides credibly with the painting now in the Bilbao Fine Arts Museum3. -
A Superb Baroque: Art in Genoa, 1600–1750 Sep 26, 2021–Jan 9, 2022 (CANCELED)
Sixth Street and Constitution Avenue NW, Washington, DC | nga.gov Mailing address: 2000 South Club Drive, Landover, MD 20785 Updated 8/19/2021 at 1:45:36 PM A Superb Baroque: Art in Genoa, 1600–1750 Sep 26, 2021–Jan 9, 2022 (CANCELED) Press Release: https://www.nga.gov/press/exhibitions/exhibitions-2020/5051.html Order Press Images: https://www.nga.gov/press/exhibitions/exhibitions-2020/5051/images.html Press Contact: Laurie Tylec phone: (202) 842-6355 e-mail: [email protected] Object ID: 5051-254 Bartolomeo Guidobono Seated Sibyl, c. 1690 brush and brown, blue, and gray ink over black chalk and graphite, heightened with white on laid paper overall: 39.2 x 26.8 cm (15 7/16 x 10 9/16 in.) framed: 62.23 x 46.99 cm (24 1/2 x 18 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Object ID: 5051-367 Carlo Antonio Tavella The Rest on the Flight into Egypt, c. 1720 pen and brown ink and brush and brown wash, heightened with white, on laid paper sheet: 39 x 29.9 cm (15 3/8 x 11 3/4 in.) mount: 40.5 x 31.1 cm (15 15/16 x 12 1/4 in.) framed: 59.69 x 44.45 cm (23 1/2 x 17 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Object ID: 5051-368 Giovanni Andrea Podesta Bacchanal with Altar, Faun, and Silenus, 1640 etching on laid paper sheet: 26.6 x 39.3 cm (10 1/2 x 15 1/2 in.) framed: 44.45 x 59.69 cm (17 1/2 x 23 1/2 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Object ID: 5051-230 Giovanni Benedetto Castiglione Bearded Man with Shadowed Face, Wearing a Scarf and a Plumed Hat, 1645/1650 etching on laid paper plate: 18.1 x 14.6 cm (7 1/8 x 5 3/4 in.) sheet: 31.6 x 23 cm (12 7/16 x 9 1/16 in.) framed: 40.01 x 32.39 cm (15 3/4 x 12 3/4 in.) National Gallery of Art, Washington, Florian Carr Fund 1 A Superb Baroque: Art in Genoa, 1600–1750 Object ID: 5051-231 Giovanni Benedetto Castiglione Self-Portrait(?), Wearing a Plumed Cap ["Portrait of Bernini"], c. -
Palazzo Farnese
Palazzo Farnese Fasti farnesiani Al piano rialzato di Palazzo Farnese si trova l'appartamento stuccato, formato da quattro sale, ornate a stucco negli anni 1685-1688, per volere del duca Ranuccio II. Molto probabilmente la grande opera di decorazione venne realizzata da Paolo Frisoni, anche se non sono da escludere interventi di altri valenti artigiani che in quegli stessi anni lavoravano in palazzi e chiese della città. I progetti e i disegni degli stucchi sono da ricondurre ad Andrea Seghizzi (Bologna, 1613), scenografo di corte di Ranuccio II. Si ritiene possibile inoltre che i fratelli Ferdinando e Francesco Galli Bibbiena, già attivi nel 1682 nella decorazione delle sale del piano superiore, abbiano collaborato con il Sighizzi anche al piano rialzato. Nelle cornici a stucco il duca Ranuccio II fece collocare un ciclo di dipinti su tela raffigurante gli splendori del casato: i Fasti farnesiani. Tramite queste rappresentazioni, rifacendosi a un filone autocelebrativo già diffuso presso le maggiori dinastie italiane del Rinascimento, i duchi Farnese intesero ridare prestigio e potenza alla propria famiglia, soprattutto agli occhi degli altri sovrani e sudditi. I Fasti farnesiani voluti da Ranuccio II mostrano le gesta di Paolo III e Alessandro Farnese, il primo fondatore della dinastia e protagonista della storia europea del Cinquecento, il secondo, anch'egli figura di levatura internazionale, comandante militare e governatore nelle Fiandre per conto della Spagna. Le storie di Paolo III, si trovano nell'alcova, divisa in due piccole stanze, la camera da letto e lo studiolo e furono dipinte da Sebastiano Ricci (Belluno 1659 – Venezia 1734), pittore formatosi in ambito veneto.