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JAN BRUEGHEL the YOUNGER (1601 – Antwerp – 1678))
VP4750 JAN BRUEGHEL THE YOUNGER (1601 – Antwerp – 1678)) Noli me tangere On copper, 9 ¼ x 14 ¾ ins. (23.5 x 37.5 cm) PROVENANCE Private collection, France, until 2015 The eldest son of Jan Brueghel the Elder, Jan the Younger followed closely in his father’s footsteps. After training with his father in Antwerp, he travelled to Italy in 1622, but his trip was cut short following the unexpected death of his father in 1625. He returned to Antwerp and took over the running of the family studio. From that time until 1651 he kept a journal (Dagboek) i detailing his activities which included selling pictures left by his father and completing half-finished works. His journal also shows that he maintained close relationships with many of his father’s patrons and collaborators. Jan the Younger adopted a similarly refined manner to that of his father, as well as many of his father’s most successful compositions. In time, he developed a more personal style and a repertoire of his own subjects. The episode known as Noli me tangere (touch me not) is found only in the Gospel according to St. John (20:14-18). After the Resurrection, Christ appeared to Mary Magdelene as she stood weeping by the empty tomb. At first, she did not recognise him, but supposing him to be a gardener, asked if he was the one who had removed Jesus’s body. Jesus then called her by name, whereupon she recognised him, exclaiming “Rabboni!” (Master), but Jesus responded, saying “Touch me not; for I am not yet ascended to my father” and bade her go to the disciples with the message that he was now risen. -
1932 Born in Dresden, Germany Present Lives and Works in Cologne, Germany 1952-1957 Studied at the Dresden Art Academy, Dresde
GERHARD RICHTER 1932 Born in Dresden, Germany Present Lives and works in Cologne, Germany Education 1952-1957 Studied at the Dresden Art Academy, Dresden, Germany 1961-1963 Studied at the Dusseldorf Art Academy under KO Gotz, Dusseldorf, Germany Selected Exhibitions 2020 Gerhard Richter, Marian Goodman Gallery, New York Gerhard Richter. New Drawings 2017-2019, Kunstsammlungen Dresden, Germany Gerhard Richter: Painting After All, The Metropolitan Museum of Art, New York Gerhard Richter: 100 Self-Portraits, Kunstmuseum Winterthur, Switzerland Gerhard Richter, Bank Austria Kunstforum, Vienna 2019 Gerhard Richter: Prints, Gagosian, New York Richter #2, Wada Garou Tokyo, Tokyo Gerhard Richter: Overpainted Photographs, Gagosian, London Gerhard Richter: Seascapes, Guggenheim Museum Bilbao, Spain Gerhard Richter. “PATH,” Wako Works of Art, Tokyo Gerhard Richter. Editions, Drafts, Letters, Materials, Albertinum, Staatliche Kunstsammlungen Dresden, Germany 2018 Resume—Gerhard Richter--, Wada Garou Tokyo Gerhard Richter: Early Workds, Museum Wiesbaden, Germany Gerhard Richter: Self-Portraits, 1993, Staatliche Kunstsammlungen Dresden, Germany Gerhard Richter. Abstraction, Museum Barberini, Potsdam, Germany Material Matters, Fondation Beyeler, Switzerland 2017 Gerhard Richter / About Painting, S.M.A.K. Museum of Contemporary Art, Ghent The Human Form, Berggruen Gallery, San Francisco Gerhard Richter: About Painting, Stedelijk Museum, Amsterdam Gerhard Richter: About Painting, Early Works, Kunstmuseum Bonn, Germany Gerhard Richter, National Gallery, -
Thecourtauldregister of Interestsgb 2019
THE COURTAULD INSTITUTE OF ART REGISTER OF RELEVANT INTERESTS – February 2019 The CUC code of practice advises that ‘The institution shall maintain and publicly disclose a register of interests of members of the governing body’. The declared interests of the members of The Board of Directors of The Courtauld Institute of Art are as follows INDEPENDENT DIRECTORS Chairman Lord Browne of Madingley, Edmund John Phillip Browne Executive Chairman, L1 Energy (UK) LLP Interest (organisation name) Registration details (iF Capacity Start date disclosed) Francis Crick Institute Chairman August 2017 Pattern Energy Group Director October 2013 Huawei Technologies (UK) Co Limited Chairman February 2015 L1 Energy (UK) LLP Executive Chairman March 2015 DEA Deutsche Erdoel AG Chairman of the Supervisory Board March 2015 Accenture Global Energy Board Chairman April 2010 Stanhope Capital Advisory Board Chairman July 2010 L1 Energy Advisory Board Chairman June 2013 NEOS GeoSolutions Adviser December 2015 Angeleno Group Member of the Board of Advisors August 2016 Velo Restaurants Ltd Shareholder NA SATMAP Inc doing business as Afiniti Advisory board (and shareholder) April 2016 Gay Star News Shareholder NA Kayrros SAS Shareholder NA Windward Maritime Limited Shareholder NA Pattern Energy Group Inc Shareholder NA IHS Markit Director and Shareholder NA UKTI Business Ambassador Honorary – not current Edelman Ltd Member of the Advisory Board September 2016 Board of Donmar Warehouse Chair December 2014 American Friends of Donmar Theatre Inc Director March 2015 International -
Antwerp in 2 Days | the Rubens House
Antwerp in 2 days | The Rubens House Rubens was a man of many talents. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and an architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? Rubens as an architect Rubens was talented in many areas of life. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? When Rubens returned from Italy in 1608, at the age of 31, he came back with a case full of sketches and a head full of ideas. He purchased a plot of land with a house near his grandfather’s home (Meir 54) and converted it into his own Palazzetto. Take an hour to visit the Rubens House and to breathe in the atmosphere in the master’s house before setting off to explore his city. Rubens’s palazzetto on the Wapper was not yet complete when the artist was commissioned to work on the Baroque Jesuit church some distance away, at Hendrik Conscienceplein. On your way to Hendrik Conscienceplein, we would suggest you make a brief stop at another church: St James’s Church (St Jacobskerk) in Lange Nieuwstraat. This robust building dooms up rather unexpectedly among the houses, but its interior presents a perfect harmony between Gothic and Baroque: the elegant Middle Ages and the flamboyant style of the 17th century go hand-in-hand here. -
Denver Art Museum to Premiere Landmark Monet Exhibition Claude Monet: the Truth of Nature Features More Than 100 Works Spanning the Artist’S Entire Career
Images available upon request. Denver Art Museum to Premiere Landmark Monet Exhibition Claude Monet: The Truth of Nature features more than 100 works spanning the artist’s entire career DENVER—July 23, 2018—The Denver Art Museum (DAM) will be home to the most comprehensive U.S. exhibition of Monet paintings in more than two decades when it presents Claude Monet: The Truth of Nature, in the fall of 2019. The exhibition will feature more than 100 paintings spanning Monet’s entire career and will focus on the celebrated French impressionist artist’s enduring relationship with nature and his response to the varied and distinct places in which he worked. Co-organized by the DAM and the Museum Barberini in Potsdam, Germany, Denver will be the sole U.S. venue for this presentation from Oct. 20, 2019 through Feb. 2, 2020. The exhibition will travel to the Museum Barberini in the spring of 2020. artworks that will be featured in the presentation. The exhibition will uncover Monet’s continuous Monet traveled more extensively than any other dialogue with nature and its places through a impressionist artist in search of new motifs. His thematic and chronological arrangement, from journeys to varied places including the rugged the first examples of artworks still indebted to the Normandy coast, the sunny Mediterranean, landscape tradition to the revolutionary London, the Netherlands and Norway inspired compositions and series of his late years. Princeton University Art Museum. The exhibition also will include six Monet paintings from the DAM collection; four of them were part of the Frederic C. -
Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection
Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1930 Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection Bowdoin College. Museum of Art Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Recommended Citation Bowdoin College. Museum of Art, "Descriptive Catalogue of the Paintings, Sculpture and Drawings and of the Walker Collection" (1930). Museum of Art Collection Catalogues. 4. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/4 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Digitized by the Internet Archive in 2015 https://archive.org/details/descriptivecatal00bowd_2 BOWDOIN MUSEUM OF FINE ARTS WALKER ART BUILDING DESCRIPTIVE CATALOGUE OF THE PAINTINGS, SCULPTURE and DRAWINGS and of the WALKER COLLECTION FOURTH EDITION Price Fifty Cents BRUNSWICK, MAINE 1930 THE RECORD PRES5 BRUNSWICK, MAINE TABLE OF CONTENTS PAGE List of Illustrations 3 Prefatory Note 4 Historical Introduction 8 The Walker Art Building 13 Sculpture Hall 17 The Sophia Walker Gallery 27 The Bowdoin Gallery 53 The Boyd Gallery 96 Base:.:ent 107 The Assyrian Room 107 Corridor 108 Class Room 109 King Chapel iio List of Photographic Reproductions 113 Index ...115 Finding List of Numbers 117 LIST OF ILLUSTRATIONS FACING PAGE Walker Art Building — Frontispiece Athens, by John La Farge 17 Venice, by Kenyon Cox 18 Rome, by Elihu Vcdder 19 Florence, hy Abbott Thayer 20 Alexandrian Relief Sculpture, SH-S 5 .. -
Press Release CORPUS: the Body Unbound Courtauld Gallery 16 June
Press Release CORPUS: The Body Unbound Courtauld Gallery 16 June – 16 July 2017 Wolfgang Tillmans, Dan, 2008. C-Type print, 40 x 30 cm Arts Council Collection, Southbank Centre, London © Wolfgang Tillmans, courtesy Maureen Paley, London ● An exhibition curated by MA Curating the Art Museum students at The Courtauld Institute of Art ● Featuring major artworks from The Courtauld Collection and the Arts Council Collection ● CORPUS: The Body Unbound explores how artists past and present have engaged with the body to interrogate, analyse and reimagine fundamental aspects of the human condition ● Curated in response to The Courtauld Gallery’s Special Display Bloomsbury: Art & Design CORPUS: The Body Unbound explores how artists past and present have engaged with the body - the corpus - to interrogate, analyse and reimagine fundamental aspects of the human condition. For artists, the human figure has been a site of optimism, a source of anxiety, as well as a symbol of limitations imposed by the self and society. Curated by the students of the Courtauld’s MA Curating the Art Museum, CORPUS: The Body Unbound responds to The Courtauld Gallery’s Special Display Bloomsbury Art & Design, on view in the adjacent gallery. Spanning more than 600 years of artistic practice, this exhibition brings together works from The Courtauld Gallery and the Arts Council Collection, creating unexpected confrontations and dialogues across time, space and media. Works by artists including Peter Paul Rubens (1577-1640), Henry Moore (1898-1986) and Wolfgang Tillmans (b.1968) explore the strength and fragility of the body and the potential optimism of the human spirit in times of conflict. -
29 Diana and Endymion
29 Seligmann inventory); sold 1914 to (M. Knoedler & Co., London, New York, and Paris); sold March 1922 to John McCormack 1960.6.2 [1884 – 1945], New York; (M. Knoedler & Co., London, New York, and Paris); sold 1924 to William R. Timken [1866 – 1949], Diana and Endymion New York;1 by inheritance to his widow, Lillian Guyer Timken c. 1753 / 1756 [1881 – 1959], New York. Exhibited: L’Art du XVIIIe siècle, Galerie Georges Petit, Paris, 1883 – oil on canvas, 94.9 × 136.8 (37 3/8× 53 7/8) 1884, no. 7, as by Boucher. Loan Exhibition of Paintings by Old Timken Collection Masters, Palace of Fine Arts, San Francisco, 1920, no. 90, as by Boucher. Loan for display with permanent collection, Museum Distinguishing Marks and Labels of Fine Arts, St. Petersburg, Florida, 1966 – 1981, as by Boucher. The Loves of the Gods: Mythological Painting from Watteau to David, On stretcher: in blue crayon, “(5855)”; in blue crayon, “15444”; Galeries nationales du Grand Palais, Paris; Philadelphia Museum paper label, printed “15444”; Nga label of Art; Kimbell Art Museum, Fort Worth, 1991 – 1992, no. 60. Technical Notes: The support is a fine-weight, plain-weave fabric. The tacking margins have been removed, and the painting has been double-lined. There is a vertical seam in the original fabric approxi- mately 24 cm from the left edge. The painting’s original shape was changed radically during an early conservation treatment. The X- radiographs indicate that four fabric inserts were added to the paint- ing to change it from a curvilinear, scalloped shape to a rectangular format. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Interpretation of the Quran- Surat Al-A'raf (7)- Lesson(12): Satan Has No Influence on Mankind- Some Characters of Jinn
Interpretation of the Quran- Surat Al-A'raf (7)- Lesson(12): Satan has no Influence on Mankind- Some Characters of Jinn Praise be to Allah, the Lord of Creations, and Peace and blessings be upon our prophet Muhammad, the faithful and the honest. Oh, Allah, w e know nothing but w hat You teach us. You are the All- Know er, the Wise. Oh Allah, teach us w hat is good for us, and benefit us from w hat You taught us, and increase our know ledge. Show us the righteous things as righteous and help us to do them, and show us the bad things as bad and help us to keep aw ay from them. O Allah our Lord, lead us out from the depths of darkness and illusion, unto the lights of erudition and know ledge, and from the muddy shallow s of lusts unto the heavens of Your Vicinity. Dear brothers, w e w ill start lesson 12 of Surat Al Araaf interpreting the Ayah (verse) 27: ”O Children of Adam! Let not Shaitan (Satan) deceive you, as he got your parents [Adam and Haw w a (Eve)] out of Paradise, stripping them of their raiments, to show them their private parts. Verily, he and Qabiluhu (his soldiers from the jinns or his tribe) see you from where you cannot see them. Verily, We made the Shayatin (devils) Auliya' (protectors and helpers) for those who believe not.” [Surat Al-A’raf 7, verse 27] Kinds of Objects in Terms of Methods of Perception Dear brothers, it is a revelation matter in regard of Jinn, w hile all the materialistic objects that have entity and trace, are perceived by the five senses or their extensions such as Telescopes and Microscopes. -
Explaining the Evils of the Nephilim
Explaining The Nephilim Giants ‘When mankind began to multiply on the earth and daughters were born to them, the ‘sons of God’ (fallen angels) saw the daughters of men (human women) were beautiful and they took (raped) all the women they desired and chose. (As a result) there were Nephilim on the earth in those days and also afterwards when the ‘sons of God’ (fallen angels) lived with the daughters of mankind and they bore children to them. Those were the mighty men who were of old, men of renown’ (Genesis 6:1,2 & 4). ‘The people who dwell in the land are strong and the cities are fortified and very great. We saw the children (descendents) of Anak there … Amalek dwells in the land of the South … They brought up an evil report of the land they had spied out to the Children of Israel saying, “The land where we spied out is a land that eats up its inhabitants. All the people who we saw in it are men of great stature (giants). There we saw the Nephilim, the sons (descendents) of Anak who come of the Nephilim and we were in our own sight as grasshoppers and so we were in their sight’” (Numbers 13:28, 29, 32 & 33). These evil beings called the Nephilim were the wicked giant offspring born to the women who had been raped by the fallen angels referred to as ‘the sons of God’. The Nephilim ‘men of renown’ were not decent men who were well known, they were vicious, violent, wicked half human, half fallen angels who later brought into existence the Amalek and Anakim (plural of Anak). -
<I>Paradise Lost</I>
Harriet L. Wilkes Honors College Honors Theses Florida Atlantic University Libraries Year Paradise impaired: duality in Paradise Lost Katherine Bernhard Florida Atlantic University, This paper is posted at DigitalCommons@Florida Atlantic University. http://digitalcommons.fau.edu/wilkes theses/45 PARADISE IMPAIRED: DUALITY IN PARADISE LOST by Katherine Joy Bernhard A Thesis Submitted to the Faculty of The Wilkes Honors College in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences with a Concentration in English Literature Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2006 i PARADISE IMPAIRED: DUALITY IN PARADISE LOST by Katherine Joy Bernhard This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Michael M. Harrawood, and has been approved by the members of her supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ____________________________ Dr. Michael M. Harrawood ____________________________ Dr. Laura Barrett ______________________________ Interim Dean, Wilkes Honors College ____________ Date ii ACKNOWLEDGMENTS My never-ending gratitude to my loving parents, Jennifer and Steve Bernhard, who have always supported me so much, and motivated me to succeed. I deeply appreciate everything you have done for me to get me where I am today. To Michael Harrawood, who helped me become a much better writer and reader since I began, and has been such a source of encouragement, I can’t thank you enough. Thank you so much to Laura Barrett for working with me, who inspires and impresses me, and whose wisdom I’ll never forget.