Whoever Does Not Wish to Have Mary Immaculate As His Mother Will Not Have Christ As His Brother

Total Page:16

File Type:pdf, Size:1020Kb

Whoever Does Not Wish to Have Mary Immaculate As His Mother Will Not Have Christ As His Brother 2.1 Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not wish to haveM Mary Immaculateary as his Mother will not have Christ as his Brother. Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not wish to have Mary Immaculate as his Mother will not have Christ as his Brother. Whoever does not “Whoever does not wish to have Mary Immaculate as his Mother, will not have Christ as his Brother.” wish to have Mary Immaculate– St. Maximilian Kolbe as his Mother will not have Christ as his Brother. Whoever does not wish to have 2.2 Mary – L’Innocence L’Innocence (Matted) L’Innocence NWM–900C4 9 x 14 75.00 (Matted with Prayer) NWM–900E4 12 x 20 150.00 NWP–900C4 8 x 14 60.00 NWM–900K7 20 x 32 250.00 L’Innocence L’Innocence L’Innocence (Ornate Dark Frame) (Ornate Gold Frame) (Standard Gold Frame) NW–900A4 5 x 10 34.00 NW–900A3 5 x 10 34.00 NW–900A1 5 x 10 24.00 NW–900C4 8 x 16 65.00 NW–900C3 8 x 16 65.00 NW–900C1 8 x 16 40.00 NW–900F4 12 x 24 130.00 NW–900F3 12 x 24 130.00 NW–900F1 12 x 24 100.00 NW–900J7 16 x 32 200.00 NW–900J3 16 x 32 200.00 1–800–895–6267 • Nelson Fine Art & Gifts • www.nelsongifts.com Mary – L’Innocence 2.3 L’Innocence L’Innocence (Canvas, Oval Frame) (Canvas, Spandrel Frame) RMOC–900B7 8 x 10 55.00 RMSC–900B9 8 x 10 120.00 RMOC–900D7 12 x 16 100.00 RMSC–900D9 12 x 16 200.00 RMOC–900F7 16 x 20 165.00 RMSC–900F9 16 x 20 295.00 L’Innocence L’Innocence (Canvas, Gold Museum Frame) (Canvas, Ornate Gold Frame) RMC–900C1 8 x 16 130.00 NWC–900C8 8 x 16 130.00 RMC–900F1 12 x 24 225.00 NWC–900F8 12 x 24 225.00 RMC–900J1 16 x 32 400.00 NWC–900J8 16 x 32 400.00 RMC–900M1 20 x 40 600.00 NWC–900M8 20 x 40 600.00 www.nelsongifts.com • Nelson Fine Art & Gifts • 1–800–895–6267 2.4 Mary – Queen of the Angels Queen of the Angels Queen of the Angels Queen of the Angels (Canvas, Oval Frame) (Standard Gold Frame) (Ornate Gold Frame) RMOC–65B7 8 x 10 55.00 NW–65A1 5½ x 8½ 24.00 NW–65A3 5½ x 8½ 34.00 RMOC–65D7 12 x 16 100.00 NW–65D1 10 x 16 50.00 NW–65D3 10 x 16 65.00 RMOC–65F7 16 x 20 165.00 NW– 65F1 14 x 22 100.00 NW–65F3 14 x 22 130.00 Queen of the Angels Queen of the Angels Queen of the Angels (Matted, Ornate Dark Frame) (Matted with Prayer) (Matted, Gold Museum Frame) NWM–65C4 11 x 14 75.00 NWP–65C4 8 x 14 60.00 RMM–65J1 20 x 28 300.00 NWM–65F4 14 x 20 150.00 1–800–895–6267 • Nelson Fine Art & Gifts • www.nelsongifts.com Mary – Song of the Angels 2.5 Song of the Angels Song of the Angels Song of the Angels (Canvas, Oval Frame) (Standard Gold Frame) (Ornate Gold Frame) RMOC–500B7 8 x 10 55.00 NW–500A1 6 x 9 24.00 NW–500A3 6 x 9 34.00 RMOC–500D7 12 x 16 100.00 NW–500D1 12 x 16 50.00 NW–500D3 12 x 16 70.00 RMOC–500F7 16 x 20 165.00 NW–500F1 15 x 21 100.00 NW–500F3 15 x 21 130.00 Song of the Angels Song of the Angels Song of the Angels (Matted, Dark Museum Frame) (Matted with Prayer) (Matted, Ornate Dark Frame) RMM–500F2 16 x 20 150.00 NWP–500C4 8 x 14 60.00 NWM–500C4 11 x 14 75.00 RMM–500K2 22 x 28 250.00 NWM–500F4 16 x 20 150.00 NWM–500K7 22 x 28 250.00 (No Matte, Gold Museum Frame) RM–500K2 22 x 28 250.00 www.nelsongifts.com • Nelson Fine Art & Gifts • 1–800–895–6267 2.6 Mary – Madonna of the Roses Madonna of the Roses Madonna of the Roses Madonna of the Roses (Standard Gold Frame) (Matted, Ornate Dark Frame) (Ornate Gold Frame) NW–550A2 6 x 9 24.00 NWM–550D4 12 x 14 80.00 NW–550A3 6 x 9 34.00 NW–550B2 8 x 10 30.00 NWM–550F4 16 x 20 150.00 NW–550D3 12 x 16 70.00 NW–550D2 12 x 16 50.00 NWM–550K7 22 x 28 250.00 NW–550F3 15 x 21 130.00 NW–550F2 15 x 21 100.00 Madonna of the Roses Madonna of the Roses Madonna of the Roses (Canvas, Oval Frame) (Canvas, Gold Museum Frame) (Matted with Prayer) RMOC–550B7 8 x 10 55.00 RMC–550B1 8 x 10 90.00 NWP–550C4 8 x 14 60.00 RMOC–550D7 12 x 16 100.00 RMC–550D1 12 x 16 160.00 RMOC–550F7 16 x 20 165.00 RMC–550F1 16 x 20 225.00 1–800–895–6267 • Nelson Fine Art & Gifts • www.nelsongifts.com Mary – La Pietà 2.7 La Pietà La Pietà La Pietà (Standard Gold Frame) (Ornate Gold Frame) (Matted with Prayer) NW–200A1 5½ x 8½ 24.00 NW–200A3 5.5 x 8.5 34.00 NWP–200C4 8 x 14 60.00 NW–200D1 10 x16 50.00 NW–200D3 10 x 16 70.00 NW–200F1 14 x 22 100.00 NW–200F3 14 x 22 130.00 La Pietà La Pietà La Pietà (Canvas, Oval Frame) (Matted, Ornate Dark Frame) (Matted, Gold Museum Frame) RMOC–200B7 8 x 10 55.00 NWM–200C4 11 x 14 75.00 RMM–200J1 20 x 28 300.00 RMOC–200D7 12 x 16 100.00 NWM–200F4 14 x 20 150.00 RMOC–200F7 16 x 20 165.00 NWM–200J7 20 x 28 300.00* *wine matte over cream www.nelsongifts.com • Nelson Fine Art & Gifts • 1–800–895–6267 2.8 Mary – Virgin and Child Virgin and Child Virgin and Child Virgin and Child (Standard Gold Frame) (Ornate Dark Frame) (Ornate Gold Frame) NW–975A1 5½ x 9½ 24.00 NW–975A4 5½ x 9½ 34.00 NW–975A3 5½ x 9½ 34.00 NW–975C1 9¼ x 16 50.00 NW–975C4 9¼ x 16 70.00 NW–975C3 9¼ x 16 70.00 NW–975F1 14 x 24 100.00 NW–975F4 14 x 24 130.00 NW–975F3 14 x 24 130.00 Virgin and Child Virgin and Child Virgin and Child (Canvas, Oval Frame) (Matted, Ornate Dark Frame) (Matted with Prayer) RMOC–975B7 8 x 10 55.00 NWM–975C4 10 x 14 75.00 NWP–975C4 8 x 14 60.00 RMOC–975D7 12 x 16 100.00 NWM–975F4 14 x 20 150.00 RMOC–975F7 16 x 20 165.00 NWM–975K4 20 x 30 250.00 1–800–895–6267 • Nelson Fine Art & Gifts • www.nelsongifts.com Mary – Immaculate Conception 2.9 Immaculate Conception Immaculate Conception (Standard Gold Frame) (Ornate Gold Frame) NW–905A2 5 x 10 24.00 NW–905A3 5 x 10 34.00 NW–905C2 8 x 16 40.00 NW–905C3 8 x 16 65.00 NW–905F2 12 x 24 100.00 NW–905F3 12 x 24 130.00 NW–905J3 16 x 32 200.00 Immaculate Conception Immaculate Conception Immaculate Conception (Canvas, Oval Frame) (Canvas, Gold Museum Frame) (Matted with Prayer) RMOC–905B7 8 x 10 55.00 RMC–905C1 8 x 16 130.00 NWP–905C4 8 x14 60.00 RMOC–905D7 12 x 16 100.00 RMC–905F1 12 x 24 225.00 RMOC–905F7 16 x 20 165.00 RMC–905J1 16 x 32 400.00 RMC–905M1 20 x 40 600.00 www.nelsongifts.com • Nelson Fine Art & Gifts • 1–800–895–6267 2.10 Mary – Madonna of the Host Madonna of the Host (Canvas, Round Frame) Madonna of the Host RMRC–901B8 8 x 8 40.00 (Matted, Ornate Gold Frame) RMRC–901D8 12 x 12 65.00 NWM–901C2 10 x 10 60.00 RMRC–901F8 16 x 16 100.00 NWM–901E2 16 x 16 130.00 NWM–901H5 22 x 22 250.00 Madonna of the Host Madonna of the Host (Matted with Quote) (Canvas, Spandrel Frame) NWP–901C2 11 x 14 75.00 RMSC–901D10 12 x 12 130.00 NWP–901F5 16 x 20 150.00 RMSC–901F10 16 x 16 200.00 1–800–895–6267 • Nelson Fine Art & Gifts • www.nelsongifts.com Mary – Madonna of the Host 2.11 Madonna of the Host Madonna of the Host (Detail) Madonna of the Host (Standard Gold Frame) (Matted with Prayer) (Canvas, Gold Museum Frame) NW–901A2 5 x 10 24.00 NWP–901C4 8 x 14 60.00 RMC–901C1 8 x 16 130.00 NW–901C2 8 x 16 40.00 RMC–901F1 12 x 24 225.00 NW–901F2 12 x 24 100.00 RMC–901J1 16 x 32 400.00 RMC–901M1 20 x 40 600.00 Madonna of the Host Madonna of the Host (Ornate Gold Frame) (Canvas, Oval Frame) NW–901A3 5 x 10 34.00 RMOC–901B7 8 x 10 55.00 NW–901C3 8 x 16 65.00 RMOC–901D7 12 x 16 100.00 NW–901F3 12 x 24 130.00 RMOC–901F7 16 x 20 165.00 NW–901J3 16 x 32 200.00 www.nelsongifts.com • Nelson Fine Art & Gifts • 1–800–895–6267 2.12 Mary – Our Lady of Guadalupe Our Lady of Guadalupe Our Lady of Guadalupe Our Lady of Guadalupe (Full Image) (Matted with Prayer) (Traditional, Ornate Gold Frame) NW–306A1 6 x 9 24.00 NWP–306C4 8 x 14 60.00 NW–300B3 6 x 10 26.00 NW–306B1 8 x 12 36.00 NW–300C3 9½ x 16 50.00 NW–306D1 12 x 18 60.00 NW–300F3 14 x 24 100.00 NW–306F1 14 x 22 100.00 NW–300J3 18 x 30 180.00 NW–306G11 16 x 24 150.00 NWC–300L3 21 x 34 400.00* NWC–300M8 24 x 40 600.00* St.
Recommended publications
  • The Paintings and Sculpture Given to the Nation by Mr. Kress and Mr
    e. FOR IMMEDIATE RELEASE THE COLLECTIONS OF THE NATIONAL GALLERY OF ART \YASHINGTON The National Gallery will open to the public on March 18, 1941. For the first time, the Mellon Collection, deeded to the Nation in 1937, and the Kress Collection, given in 1939, will be shown. Both collections are devoted exclusively to painting and sculpture. The Mellon Collection covers the principal European schools from about the year 1200 to the early XIX Century, and includes also a number of early American portraits. The Kress Collection exhibits only Italian painting and sculpture and illustrates the complete development of the Italian schools from the early XIII Century in Florence, Siena, and Rome to the last creative moment in Venice at the end of the XVIII Century. V.'hile these two great collections will occupy a large number of galleries, ample space has been left for future development. Mr. Joseph E. Videner has recently announced that the Videner Collection is destined for the National Gallery and it is expected that other gifts will soon be added to the National Collection. Even at the present time, the collections in scope and quality will make the National Gallery one of the richest treasure houses of art in the wor 1 d. The paintings and sculpture given to the Nation by Mr. Kress and Mr. Mellon have been acquired from some of -2- the most famous private collections abroad; the Dreyfus Collection in Paris, the Barberini Collection in Rome, the Benson Collection in London, the Giovanelli Collection in Venice, to mention only a few.
    [Show full text]
  • The Italian High Renaissance (Florence and Rome, 1495-1520)
    The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c.
    [Show full text]
  • Bureau of Engraving and Printing (BEP) Inventory Listing the Numerous BEP Historical Postage Stamp Production Folders, 2016
    Description of document: Bureau of Engraving and Printing (BEP) inventory listing the numerous BEP historical postage stamp production folders, 2016 Requested date: 19-January-2016 Released date: 01-February-2016 Posted date: 28-March-2016 Source of document: Disclosure Officer Bureau of Engraving and Printing Office of the Chief Counsel - FOIA and Transparency Services 14th & C Streets, SW, Room 419A Washington, D.C. 20228-0001 Fax: (202) 874-2951 The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. DEPARTMENT OF THE TREASURY BUREAU OF ENGRAVING AND PRINTING WESTERN CURRENCY FACILITY FORT WORTH, TEXAS 76131 February 1, 2016 FOIA/PA Request No.
    [Show full text]
  • Donatello's Terracotta Louvre Madonna
    Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it.
    [Show full text]
  • The London Old Masters Market and Modern British Painting (1900–14)
    Chapter 4 (Inter)national Art: The London Old Masters Market and Modern British Painting (1900–14) Barbara Pezzini Introduction: Conflicting National Canons In his popular and successful essay Reflections on British Painting, an el- derly Roger Fry—who died in September 1934, the same year of this essay’s publication—criticised the art-historical use of a concept closely related to na- tionalism: patriotism.1 For Fry the critical appreciation of works of art should be detached from geographical allegiances and instead devoted ‘towards an ideal end’ that had ‘nothing to do with the boundaries between nations.’ Fry also minimised the historical importance of British art, declaring it ‘a minor school.’2 According to Fry, British artists failed to recognise a higher purpose in their art and thus produced works that merely satisfied their immediate con- temporaries instead of serving ‘posterity and mankind at large.’3 Their formal choices—which tended towards the linear and generally showed an absence of the plastic awareness and sculptural qualities of other European art, especially Italian—were also considered by Fry to be a serious limitation. Fry’s remarks concerning patriotism in art were directed against the aggressive political na- tionalism of the 1930s, but the ideas behind them had long been debated. They were, in fact, a development of earlier formalist ideas shared in part by other writers of the Bloomsbury set and popularised by Clive Bell’s 1914 discussion of ‘significant form.’4 For Fry, as for Bell, there was a positive lineage to be found in art, a stylistic continuum that passed from Giotto through Poussin to arrive to Cézanne.
    [Show full text]
  • Virgin Enthroned, School of Jacopo Di Cione
    The Technical and Historical Findings of an Investigation of a Fourteenth-Century Florentine Panel from the Courtauld Gallery Collection By Roxane Sperber and Anna Cooper The Conservation and Art Historical Analysis: Works from the Courtauld Gallery Project aimed to carry out technical investigation and art historical research on a gothic arched panel from the Courtauld Gallery Collection [P.1947.LF.202] (fig 1).1 The panel was undergoing conservation treatment and was thus well positioned for such investigation. The following report will outline the findings of this study. It will address the dating, physical construction, iconography, and attribution of the work, as well as the likely function of the work and the workshop decisions which contributed to its production. Dating Stylistic and iconographic characteristics indicate that this work originated in Florence and dates to the last decade of the fourteenth century. The panel is divided into two scenes; the lower scene depicts a Madonna of Humility, the Virgin seated on the ground surrounded by four standing saints, and the upper portion of the work is a Crucifixion with the Virgin and St John the Evangelist (the dolenti) seated at the cross. It is difficult to trace the precise origins of the Madonna of Humility and the Dolenti Seated at the Cross. There is no consensus as to the origins of these formats, although numerous proposals have been suggested.2 Millard Meiss proposed that the Madonna of Humility originated in Siena with a panel by Simone Martini,3 who also produced a fresco of the same subject in Avignon.4 Beth Williamson agrees that these mid fourteenth-century works were early examples of the Madonna of Humility, but suggests that the Avignon fresco came first and the panel, also produced during Martini’s time in France, was sent back to the Dominican convent in Siena, an institution to which Martini had ties.5 The Madonna of Humility gained popularity throughout the second half of the fourteenth century and into the fifteenth century.
    [Show full text]
  • The Umbrian and Roman School of Art - Raphael
    Howard University Digital Howard @ Howard University Manuscripts for the Grimke Book Life and Writings of the Grimke Family October 2017 The mbrU ian and Roman School of Art Follow this and additional works at: http://dh.howard.edu/ajc_grimke_manuscripts Recommended Citation "The mbrU ian and Roman School of Art" (2017). Manuscripts for the Grimke Book. 36. http://dh.howard.edu/ajc_grimke_manuscripts/36 This Book is brought to you for free and open access by the Life and Writings of the Grimke Family at Digital Howard @ Howard University. It has been accepted for inclusion in Manuscripts for the Grimke Book by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. The "mbrian c.r.d Honan School of Art RAPHAEL The Umbrian School of Art originated in Umbria, a province on the Tiber, and v;aa distinguished for the fervent religious feeling of its painters. It was in this province that St. Francis, of Assissi, the most famous saint of the middle ages, was born and lived, and it was owing to his presence and influence that the people were more deeply and strongly religious than those of the neighboring provinces. "Their painters," says a distinguished critic," strove above all things to express the mystic beauty of the Christian soul. Their art was the expression of the purest and holiest aspirations of Christian life." Kicolo Alunno, of Toligno - born in 1453, died in 1499 - is the first master in whom the distinct Umbrian' characteristics became apparent. His works have a dreamy, religious feeling; are superior in purity and brightness of color, and have much natural beauty.
    [Show full text]
  • MADONNA a Fordítás Az Alábbi Kiadás Alapján Készült: Discovering the Zodiac in the Raphael Madonna Series
    Brian Gray MADONNA A fordítás az alábbi kiadás alapján készült: Discovering the Zodiac in the Raphael Madonna Series Copyright © 2013 by Brian Gray and Wynstones Press. All rights reserved. Brian Gray Published by Wynstones Press 2013 A fordítás és a kiadás a kiadó engedélyével történt. Fordítás és magyar változat © Casparus Kiadó Kft. 2017. Minden jog fenntartva. Hungarian translation and edition © Casparus Kiadó Kft. 2017. All rights reserved. MADONNA A könyv – a kiadó írásos engedélye nélkül – sem egészében, sem részleteiben nem sokszorosítható vagy közölhető, semmilyen formában és értelemben, elektronikus vagy mechanikus módon, beleértve a nyilvános előadást vagy tanfolyamot, a hangoskönyvet, bármilyen internetes közlést, a fénymásolást, a rögzítést vagy az információrögzítés bármilyen formáját. Felelős kiadó: a Casparus Kiadó Kft. ügyvezetője. © 2017 Casparus Kiadó Kft. 2083 Solymár, Külső Vasút utca 3368/3. A zodiákus felfedezése Raffaello Madonna-sorozatában www.casparus.hu madonna.casparus.hu Első kiadás Discovering the Zodiac in the Raphael Madonna Series Szerkesztette és magyarra fordította: Balázs Árpád Magyar nyelvi lektor: Dankovics Atilla Német fordítás: Filinger Szilárd Die Entdeckung des Tierkreises in Raffaels Madonnen-Serie Német nyelvi lektor: Harald Kallinger A német nyelvű szöveg gondozásában részt vettek: Juhász Zsanett, Malomsoky Ildikó, Márta-Tóth Jolán Orosz fordítás: Olga Knyazeva Az orosz szöveget gondozta: Dmitry Dzyubenko Проявление Зодиака в ряде Мадонн Рафаэля Tördelés és tipográfia: Korcsmáros Gábor Képek jegyzéke: 25. oldal: Sixtus-Madonna (Photo by VCG Wilson/Corbis via Getty Images) 31. oldal: A szép kertésznő (Photo by Fine Art Images/Heritage Images/Getty Images) 35. oldal: Alba herceg Madonnája (Photo by VCG Wilson/Corbis via Getty Images) 39. oldal: Alba herceg Madonnája (részlet) (Photo by VCG Wilson/Corbis via Getty Images) 43.
    [Show full text]
  • Az Égen Nagy Jel Tűnt Fel: Egy Asszony, Öltözete a Nap, Lába Alatt a Hold, Fején Tizenkét Csillagból Korona
    DOKTORI DISSZERTÁCIÓ A NAPBAÖLTÖZÖTT ASSZONY, MINT A PATRONA HUNGARIAE IKONOGRÁFIAI TÍPUSA NÁTYI RÓBERT 2013. EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR DOKTORI DISSZERTÁCIÓ NÁTYI RÓBERT A NAPBAÖLTÖZÖTT ASSZONY, MINT A PATRONA HUNGARIAE IKONOGRÁFIAI TÍPUSA MŰVÉSZETTÖRTÉNET DOKTORI ISKOLA 2013. A Doktori Iskola vezetője: Dr. Kelényi György, DSc, egyetemi tanár Program: Újkori festészet, szobrászat, építészet A program vezetője: Dr. Kelényi György. DSc, egyetemi tanár A bíráló bizottság elnöke: Dr. Kelényi György DSc, egyetemi tanár A bizottság tagjai: Dr. Serfőző Szabolcs PhD Dr. Prokopp Mária professzor emeritus (póttag) Dr. Eörsi Anna PhD (póttag) A bizottság titkára: Dr. Széphelyi F. György PhD, egy. adjunktus Felkért bírálók: Dr. Barna Gábor DSc Dr. Terdik Szilveszter PhD Témavezető: Dr. Galavics Géza, MHAS TARTALOMJEGYZÉK TARTALOMJEGYZÉK 3 1. BEVEZETÉS 5 2. TUDOMÁNYTÖRTÉNET 12 3. A NAPBAÖLTÖZÖTT ASSZONY IKONOGRÁFIÁJA 24 4. A SZEPLŐTELEN FOGANTATÁS TEOLÓGIÁJA 45 5. A SZEPLŐTELEN FOGANTATÁS TANÁNAK HAZAI TERJEDÉS 51 6. REGNUM MARIANUM ESZME ÉS A PATRONA HUNGARIAE 59 7. A XV-XVI. SZÁZAD MŰVÉSZETI EMLÉKEI 67 7.1.1. OLTÁROK, SZOBROK 71 7.1.2. FUNERÁLIS EMLÉKEK, EPITÁFIUMOK 82 7.1.3. AZ ÖTVÖSSÉG EMLÉKEI 84 7.1.4. PECSÉTEK 93 7.1.5. PÉNZVERÉS 1526-IG 96 7.1.6. MISERUHÁK, KAZULÁK 104 7.1.7. KÖNYVMŰVÉSZET 108 7.2.1. KÓDEXEK 108 7.2.2. NYOMTATVÁNYOK, KÖNYVEK, MISSALÉK 112 7.2.3. KÖNYVKIADÓ ÉS NYOMDÁSZJELVÉNYEK 121 7.2.4. NYOMTATVÁNYOK A MOHÁCSOT KÖVETŐ ÉVTIZEDEKBEN 124 8. XVII-XVIII. SZÁZAD MŰVÉSZETI EMLÉKEI 128 8.1.1. HABSBURG URALKODÓK PÉNZVERÉSE (1527-1780) 128 8.1.2. AZ ERDÉLYI FEJEDELEMSÉG PÉNZVERÉSE 1540-1660 137 8.2. A NAPBAÖLTÖZÖTT ASSZONY VÁLTOZATAI (PATRONA HUNGARIAE) 141 8.2.1.
    [Show full text]
  • RAFFAELLO SANZIO Una Mostra Impossibile
    RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica.
    [Show full text]
  • Renaissance at the Vatican
    Mensile Data Novembre 2013 Sotheby’s Pagina 46-47 Foglio 1 / 3 ART WORLD INSIDER Renaissance at the vatican VI (reigned 1963 to 1978), who knew many artists from his time in Paris, inaugurated the collection of modern art in the Borgia Apartments, decorated in the 15th century by Pinturicchio and home to some 600 donated works of variable quality (ironically, the Vatican’s version of Bacon’s famous popes is not among the best). Now, the Vatican is once again engaging with work by living artists and this year, for the fi rst time, it has a national pavilion at the Venice Biennale with commissioned works by the Italian multimedia collective Studio Azzurro, the Czech photographer Josef Koudelka and the American painter Lawrence Carroll. What do you say to these who think the Church should sell all of its treasures and give it to the poor? If it sold all its masterpieces, the poor would be poorer. Everything that is here is for the people of the world. Has the election of Pope Francis made a difference? PROFESSOR ANTONIO PAOLUCCI, DIRECTOR, VATICAN MUSEUMS Because of him, even more people have come to Rome. After the Angelus prayer and the papal audiences, they want to see the museums. We have 5.1 Anna Somers Cocks profi les Professor Antonio million visitors a year and I would like to have zero Paolucci, the custodian of one of the world’s growth now. greatest repositories of art at the Vatican Museums in Rome What is the role of the Vatican Museums? People expect them to be very pious: instead, you see After a brilliant career as a museum director in more male and female nudes than in most museums.
    [Show full text]
  • America's National Gallery Of
    The First Fifty Years bb_RoomsAtTop_10-1_FINAL.indd_RoomsAtTop_10-1_FINAL.indd 1 006/10/166/10/16 116:546:54 2 ANDREW W. MELLON: FOUNDER AND BENEFACTOR c_1_Mellon_7-19_BLUEPRINTS_2107.indd 2 06/10/16 16:55 Andrew W. Mellon: Founder and Benefactor PRINCE OF Andrew W. Mellon’s life spanned the abolition of slavery and PITTSBURGH invention of television, the building of the fi rst bridge across the Mississippi and construction of Frank Lloyd Wright’s Fallingwater, Walt Whitman’s Leaves of Grass and Walt Disney’s Snow White, the Dred Scott decision and the New Deal. Mellon was born the year the Paris Exposition exalted Delacroix and died the year Picasso painted Guernica. The man was as faceted as his era: an industrialist, a fi nancial genius, and a philanthropist of gar- gantuan generosity. Born into prosperous circumstances, he launched several of America’s most profi table corporations. A venture capitalist before the term entered the lexicon, he became one of the country’s richest men. Yet his name was barely known outside his hometown of Pittsburgh until he became secretary of the treasury at an age when many men retire. A man of myriad accomplishments, he is remem- bered best for one: Mellon founded an art museum by making what was thought at the time to be the single largest gift by any individual to any nation. Few philan- thropic acts of such generosity have been performed with his combination of vision, patriotism, and modesty. Fewer still bear anything but their donor’s name. But Mellon stipulated that his museum be called the National Gallery of Art.
    [Show full text]