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El Viaje a Italia De Luis Tristán. a Propósito De Una Crucifixión Firmada (16I Ismael Gutiérrez Pastor Universidad Autónoma De Madrid
El viaje a Italia de Luis Tristán. A propósito de una Crucifixión firmada (16i Ismael Gutiérrez Pastor Universidad Autónoma de Madrid Anuario del Depariaiuniiw ur; ruxuia y iaiiiauu ruir: RESUMEN SUMMARY Una Crucimón del pintor Luis Tristán, firmada y A "CrucijkG by Luis Ti nn VA fechada en Toledo en 1609, que muestra aún el estilo de and dated in Toleao in IOUY. rr srirl snows nrs masrers su maestro El Greco, permite fijar en los años 1610 y style, El Greco. The painting enables us tofu. his trip to 1611 su viaje a Italia y relacionar el cambio de estilo con Italy during 1610 and 1611. His style change can be rela- sus relaciones, tanto con Ribera documentodo por ted with !lis relarionships with Ribem (Documented by Jusepe Martínez- como con Orazio Borgianni, pintor Jusepe Manínezl i as wefl a3 with Ongzio Borgi anni. The que había estado en España en dos ocasiones y que hacia latter h 7 Spain tw,ice and about 1608 r rhifted his 1608 transformó su estilo adecuándolo al de Caravaggio. style al to Caravalrgio's one. clusión i las prime de su vid; cambi6 sus apeiiiaos:8.2- - en iov~,ai nrmar su aprenaizaje Elpintor que conocemos como Luis Tristán (c. 1590- con El Greco, lo hace como Luis Escamilla y así se man- Toledo, 1624) fue hijo de Domingo Rodríguez y de Ana tiene en otros varios documentos relativos a su maestro. de Escamilla. Hasta fechas muy avanzadas firmó como Pero en fecha inmediatamente posterior, la cual podemos Luis Escamilla, utilizando el apellido materno, mientras ahora acotar con la aparición de una CruciQkión firmada que otros hermanos suyos utilizaban el compuesto Rodrí- "LUYS TRISTAN FACIEBATI TOLETi 1609", comenzó guez de Escamilla (por ejemplo, Manuel o Agustina) y su a usar el apellido Tristán, siendo de especial importancia hermana Úrsula se hacía apellidar Tristán. -
Light and Sight in Ter Brugghen's Man Writing by Candlelight
Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates. -
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Journal of Arts & Humanities Volume 09, Issue 06, 2020: 01-11 Article Received: 26-04-2020 Accepted: 05-06-2020 Available Online: 13-06-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i6.1920 Caravaggio and Tenebrism—Beauty of light and shadow in baroque paintings Andy Xu1 ABSTRACT The following paper examines the reasons behind the use of tenebrism by Caravaggio under the special context of Counter-Reformation and its influence on later artists during the Baroque in Northern Europe. As Protestantism expanded throughout the entire Europe, the Catholic Church was seeking artistic methods to reattract believers. Being the precursor of Counter-Reformation art, Caravaggio incorporated tenebrism in his paintings. Art historians mostly correlate the use of tenebrism with religion, but there have also been scholars proposing how tenebrism reflects a unique naturalism that only belongs to Caravaggio. The paper will thus start with the introduction of tenebrism, discuss the two major uses of this artistic technique and will finally discuss Caravaggio’s legacy until today. Keywords: Caravaggio, Tenebrism, Counter-Reformation, Baroque, Painting, Religion. This is an open access article under Creative Commons Attribution 4.0 License. 1. Introduction Most scholars agree that the Baroque range approximately from 1600 to 1750. There are mainly four aspects that led to the Baroque: scientific experimentation, free-market economies in Northern Europe, new philosophical and political ideas, and the division in the Catholic Church due to criticism of its corruption. Despite the fact that Galileo's discovery in astronomy, the Tulip bulb craze in Amsterdam, the diplomatic artworks by Peter Paul Rubens, the music by Johann Sebastian Bach, the Mercantilist economic theories of Colbert, the Absolutism in France are all fascinating, this paper will focus on the sophisticated and dramatic production of Catholic art during the Counter-Reformation ("Baroque Art and Architecture," n.d.). -
COVER NOVEMBER Prova.Qxd
52-54 Lucy Art March-Aprilcorr1_*FACE MANOPPELLO DEF.qxd 2/28/21 12:12 PM Page 52 OIfN B TooHksE, AErYt EaSn dO PFe oTpHle E BEHOLDERS n BY LUCY GORDAN (“The NIl eMwo nWdoor lNd”o)v bo y Giandomenico Tiepolo, from the Prado, Madrid. Below , bTyh eR eGmirlb irna na dt, fFroramm te he Royal Castle Museum, Warsaw affeo Barberini (1568-1644) became Pope Urban the help of Borromini, Bernini took over. The exterior, in - VIII on August 6, 1623. During his reign he ex - spired by the Colosseum and similar in appearance to the Mpanded papal territory by force of arms and advan - Palazzo Farnese, which had been constructed between 1541 tageous politicking and reformed church missions. But he and c. 1580, was completed in 1633. is certainly best remembered as a prominent patron of the When Urban VIII died, his successor Pamphili Pope In - arts on a grand scale. nocent X (r. 1644-1655) confiscated the Palazzo Barberini, Barberini funded many sculptures from Bernini: the but returned it in 1653. From then on it continued to remain first in c. 1617 the “Boy with a Dragon” and later, when the property of the Barberini family until 1949 when it was Pope, several portrait busts, but also numerous architectural bought by the Italian Government to become the art museum works including the building of the College of Propaganda it is today. But there was a problem: in 1934 the Barberinis Fide, the Fountain of the Triton in today’s Piazza Barberini, had rented a section of the building to the Army for its Offi - and the and the in St. -
The Consummate Etcher and Other 17Th Century Printmakers SYRACUSE UNIVERSITY
THE CONSUMMATE EtcHER and other 17TH Century Printmakers SYRACUSE UNIVERSITY ART GALLERIES THE CONSUMMATE EtcHER and other 17th Century Printmakers A Celebration of Louise and Bernard Palitz and their association with The Syracuse University Art Galleries curated by Domenic J. Iacono CONTENTS SEptEMBER 16- NOVEMBER 14, 2013 Louise and Bernard Palitz Gallery Acknowledgements . 2 Lubin House, Syracuse University Introduction . 4 New York City, New York Landscape Prints . 6 Genre Prints . 15 Portraits . 25 Religious Prints . 32 AcKNOWLEDGEMENTS The Syracuse University Art Galleries is proud to Mr. Palitz was a serious collector of fine arts and present Rembrandt: The Consummate Etcher and after attending a Museum Studies class as a other 17th century Printmakers. This exhibition guest, offered to help realize the class lectures primarily utilizes the holdings of the Syracuse as an exhibition. We immediately began making University Art Collection and explores the impact plans to show the exhibition at both our campus of one of Europe’s most important artists on the and New York City galleries. printmakers of his day. This project, which grew out of a series of lectures for the Museum Studies The generosity of Louise and Bernard Palitz Graduate class Curatorship and Connoisseurship also made it possible to collaborate with other of Prints, demonstrates the value of a study institutions such as Cornell University and the collection as a teaching tool that can extend Herbert Johnson Museum of Art, the Dahesh outside the classroom. Museum of Art, and the Casa Buonarroti in Florence on our exhibition programming. Other In the mid-1980s, Louise and Bernard Palitz programs at Syracuse also benefitted from their made their first gift to the Syracuse University generosity including the Public Agenda Policy Art Collection and over the next 25 years they Breakfasts that bring important political figures to became ardent supporters of Syracuse University New York City for one-on-one interviews as part and our arts programs. -
The Encounter of the Emblematic Tradition with Optics the Anamorphic Elephant of Simon Vouet
Nuncius 31 (2016) 288–331 brill.com/nun The Encounter of the Emblematic Tradition with Optics The Anamorphic Elephant of Simon Vouet Susana Gómez López* Faculty of Philosophy, Complutense University, Madrid, Spain [email protected] Abstract In his excellent work Anamorphoses ou perspectives curieuses (1955), Baltrusaitis con- cluded the chapter on catoptric anamorphosis with an allusion to the small engraving by Hans Tröschel (1585–1628) after Simon Vouet’s drawing Eight satyrs observing an ele- phantreflectedonacylinder, the first known representation of a cylindrical anamorpho- sis made in Europe. This paper explores the Baroque intellectual and artistic context in which Vouet made his drawing, attempting to answer two central sets of questions. Firstly, why did Vouet make this image? For what purpose did he ideate such a curi- ous image? Was it commissioned or did Vouet intend to offer it to someone? And if so, to whom? A reconstruction of this story leads me to conclude that the cylindrical anamorphosis was conceived as an emblem for Prince Maurice of Savoy. Secondly, how did what was originally the project for a sophisticated emblem give rise in Paris, after the return of Vouet from Italy in 1627, to the geometrical study of catoptrical anamor- phosis? Through the study of this case, I hope to show that in early modern science the emblematic tradition was not only linked to natural history, but that insofar as it was a central feature of Baroque culture, it seeped into other branches of scientific inquiry, in this case the development of catoptrical anamorphosis. Vouet’s image is also a good example of how the visual and artistic poetics of the baroque were closely linked – to the point of being inseparable – with the scientific developments of the period. -
Chapter 25 Baroque
CHAPTER 25 BAROQUE Flanders, Dutch Republic, France,,g & England Flanders After Marti n Luth er’ s Re forma tion the region of Flanders was divided. The Northern half became the Dutch Republic, present day Holland The southern half became Flanders, Belgium The Dutch Republic became Protestant and Flanders became Catholic The Dutch painted genre scenes and Flanders artists painted religious and mythol ogi ca l scenes Europe in the 17th Century 30 Years War (1618 – 1648) began as Catholics fighting Protestants, but shifted to secular, dynastic, and nationalistic concerns. Idea of united Christian Empire was abandoned for secu lar nation-states. Philip II’s (r. 1556 – 1598) repressive measures against Protestants led northern provinces to break from Spain and set up Dutch Republic. Southern Provinces remained under Spanish control and retained Catholicism as offiilfficial re liiligion. PlitildititiPolitical distinction btbetween HlldHolland an dBlid Belgium re fltthiflect this or iiigina l separation – religious and artistic differences. 25-2: Peter Paul Rubens, Elevation of the Cross, 1610-1611, oil on Cue Card canvas, 15 X 11. each wing 15 X 5 • Most sought a fter arti st of hi s time - Ambassador, diplomat, and court painter. •Paintinggy style •Sculptural qualities in figures •Dramatic chiaroscuro •Color and texture like the Venetians • Theatrical presentation like the Italian Baroque •Dynamic energy and unleashed passion of the Baroque •Triptych acts as one continuous space across the three panels. •Rubens studied Renaissance and Baroque works; made charcoal drawings of Michelangelo’s Sistine Chapel and the Laocoon and his 2 sons. •Shortly after returning home , commissioned by Saint Walburga in Antwerp to paint altarpiece – Flemish churches affirmed their allegiance to Catholicism and Spanish Hapsburg role after Protestant iconoclasm in region. -
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Simon Vouet, Paris, Grand Palais, L’Artiste; Inv
Neil Jeffares, Dictionary of pastellists before 1800 Online edition VOUET, Simon Paris 9.I.1590–30.VI.1649 One of the major French painters of the early seventeenth century, between 1614 and 1627 Vouet was in Rome, where he became president of the Accademia di San Luca in 1624 and married Virginia da Vezzo (q.v.) two years later. On his return to Paris he was made premier peintre du roi. He left a collection of portraits made for Louis XIII (q.v.), whom Vouet also taught, in a medium widely described as pastel: the artist’s posthumous inventory recorded (item 293) “ung livre relié en veau doré et semé de fleurs de lis tout autour, chargé des armes du Roy de Fancs, dans lequel il y a soixante-quatre feuilles tand de J.777.065 Le président de BURY, cr. clr (PC 1987). portraits au pastel que autres choses dudit J.777.1013 [Charles de La Porte, marquis] de LA Lit.: Brejon de Lavergnée 1987, p. 75 n.r. MEILLERAYE [(1602–1664)], cr. clr (PC 1987). deffunt Vouet”, while another 15 heads were J.777.075 DAUPRE, sergent de la Bastille, cr. clr, also bound in a second book (item 294): “un Lit.: Brejon de Lavergnée 1987, p. 75 n.r. pstl, 28.5x20.5 (PC 1982). Lit.: Brejon de J.777.1015 LOUIS XIII (1601–1643), cr. clr, autre petit livre dans lequel y a quinze testes de Lavergnée 1982, fig. 37 ϕ portrais designes par led. Deffunt.” pstl/br. ppr, 27.3x21.1, c.1633 (New York, Some thirty examples surviving from a MMA, inv. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School College of Arts and Architecture THE CRISTOS YACENTES OF GREGORIO FERNÁNDEZ: POLYCHROME SCULPTURES OF THE SUPINE CHRIST IN SEVENTEENTH-CENTURY SPAIN A Dissertation in Art History by Ilenia Colón Mendoza © 2008 Ilenia Colón Mendoza Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2008 The dissertation of Ilenia Colón Mendoza was reviewed and approved* by the following: Jeanne Chenault Porter Associate Professor Emeritus of Art History Dissertation Co-Advisor Co-Chair of Committee Brian A. Curran Associate Professor of Art History Dissertation Co-Advisor Co-Chair of Committee Elizabeth J. Walters Associate Professor of Art History Simone Osthoff Associate Professor of Art Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. ii Abstract The Cristo yacente, or supine Christ, is a sculptural type whose origins date back to the Middle Ages. In seventeenth-century Spain these images became immensely popular as devotional aids and vehicles for spiritual contemplation. As a form of sacred drama these sculptures encouraged the faithful to reflect upon the suffering, death, and Resurrection of Christ as well as His promise of salvation. Perhaps the most well-known example of this type is by the Valladolidian sculptor, Gregorio Fernández (1576-1636). Located in the Capuchin Convent of El Pardo near Madrid, this work was created in accordance with Counter-Reformation mandates that required religious images inspire both piety and empathy. As a “semi-narrative”, the Cristo yacente encompasses different moments in the Passion of Christ, including the Lamentation, Anointment, and Entombment. -
Baroque Paintings Tend to Privilege Emotional Intensity Over Rationality and Frequently Use Rich Colours and Intense Contrasts of Light and Dark (Tenebrism)
SESSION 5 (Tuesday 5th February 2019) 17th Century Baroque 1. Michelangelo da Caravaggio [MA] 1.1. The Calling of St Matthew 1598-1601 1.2. The Madonna of Lereto 1604 2. Peter Paul RuBens [FB] 2.1. Sampson & Delilah 2.2. The Rape of the Daughters of Leucippus 1618 Oil on canvas (224 x 209cm) 3. Van Dyck [FB] 3.1. Charles I of England 1636 4. Artemesia Gentileschi 4.1. Judith Slaying Holofernes 1612 5. Diego de Velazquez [BA]. 5.1. Las Meninas 1656 canvas (323 x 276cm) Prado, Madrid 6. Nicolas Poussin [BA] 6.1. Landscape with Orpheus and Euridice 1650 Louvre, Oil on canvas (124 x 200cm) 6.2. Et in Arcadia Ego 1638 Oil on canvas (87 x 120cm) Louvre. Also see Arcadian Shepherds 1627 Chatsworth House 7. Claude Lorrain 7.1. The Judgement of Paris 7.2. Seaport at Sunset , 1648, Louvre Also see Turner’s The Fighting Temeraire 1839 National Gallery Title page: Artemisia Gentileschi ‘Self Portrait as the Allegory of Painting’ 1638 Royal Collection Baroque paintings tend to privilege emotional intensity over rationality and frequently use rich colours and intense contrasts of light and dark (teneBrism). Often the paintings catch a moment in the action, and the oBserver’s perspective is so close to the events they might almost feel a participant. The Council of Trent (1545-63) was set up By Pope Paul III to counter the influence of the Protestant churches. The Council called for Church commissioned paintings to have emotional appeal and a clear religious narrative and message, rejecting the more stylistic affectations of Mannerism, so Baroque paintings fitted that brief well.