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Baroque and Rococo Art and Architecture 1St Edition Pdf, Epub, Ebook
BAROQUE AND ROCOCO ART AND ARCHITECTURE 1ST EDITION PDF, EPUB, EBOOK Robert Neuman | 9780205951208 | | | | | Baroque and Rococo Art and Architecture 1st edition PDF Book Millon Published by George Braziller, Inc. He completed two chapters and a table of con- tents for a projected five-volume treatise on painting, Discorso intorno alle immagini sacre e profane, published in part in , which, although directed at a Bolognese audience, had a great impact on artistic practice throughout the Italian peninsula. As Rubenists they painted in a similar manner; indeed contempo- raries called both "the Van Dyck of France" because they borrowed so considerably from Flemish Baroque pictorial tradition. United Kingdom. Francis ca. Both authors portray the sim- artists to study its sensuous and emot1onal ly stimulating effects. Create a Want BookSleuth Can't remember the title or the author of a book? Photographs by Wim Swaan. Henry A. Championing the that he took liberties with generally accepted ideas concept of art as the Bible of the illiterate, and pressing for regarding the Day of Judgment. Dust Jacket Condition: None. The university also prompted a strong antiquarian tradition among collectors, who sought out ancient sculpture and encouraged historical subjects in painting. Published by George Braziller To browse Academia. Thus Louis XIV, worshiping from the balcony, ruler or noble and focused on status rather than personal- appeared as successor to the great rulers of the past, spe- ity. Millon, Vincent Scully Jr. Gently used, light corner wear; crease to the spine. Sean B. The author, former Director of the Courtauld Institute of Art, is known internationally for his many works on French and Italian architecture and painting. -
The Symbolism of Blood in Two Masterpieces of the Early Italian Baroque Art
The Symbolism of blood in two masterpieces of the early Italian Baroque art Angelo Lo Conte Throughout history, blood has been associated with countless meanings, encompassing life and death, power and pride, love and hate, fear and sacrifice. In the early Baroque, thanks to the realistic mi of Caravaggio and Artemisia Gentileschi, blood was transformed into a new medium, whose powerful symbolism demolished the conformed traditions of Mannerism, leading art into a new expressive era. Bearer of macabre premonitions, blood is the exclamation mark in two of the most outstanding masterpieces of the early Italian Seicento: Caravaggio's Beheading a/the Baptist (1608)' (fig. 1) and Artemisia Gentileschi's Judith beheading Halo/ernes (1611-12)2 (fig. 2), in which two emblematic events of the Christian tradition are interpreted as a representation of personal memories and fears, generating a powerful spiral of emotions which constantly swirls between fiction and reality. Through this paper I propose that both Caravaggio and Aliemisia adopted blood as a symbolic representation of their own life-stories, understanding it as a vehicle to express intense emotions of fear and revenge. Seen under this perspective, the red fluid results as a powerful and dramatic weapon used to shock the viewer and, at the same time, express an intimate and anguished condition of pain. This so-called Caravaggio, The Beheading of the Baptist, 1608, Co-Cathedral of Saint John, Oratory of Saint John, Valletta, Malta. 2 Artemisia Gentileschi, Judith beheading Halafernes, 1612-13, Museo Nazionale di Capodimonte, Naples. llO Angelo La Conte 'terrible naturalism'3 symbolically demarks the transition from late Mannerism to early Baroque, introducing art to a new era in which emotions and illusion prevail on rigid and controlled representation. -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before Heading
FRANS VAN MIERIS the Elder (1635 – Leiden – 1681) A Self-portrait of the Artist, bust-length, wearing a Turban crowned with a Feather, and a fur- trimmed Robe On panel, oval, 4½ x 3½ ins. (11 x 8.2 cm) Provenance: Jan van Beuningen, Amsterdam From whom purchased by Pieter de la Court van der Voort (1664-1739), Amsterdam, before 1731, for 120 Florins (“door myn vaader gekofft van Jan van Beuningen tot Amsterdam”) In Pieter de la Court van der Voort’s inventory of 1731i His son Allard de la Court van der Voort, and in his inventories of 1739ii and 1749iii His widow, Catherine de la Court van de Voort-Backer Her deceased sale, Leiden, Sam. and Joh. Luchtmans, 8 September 1766, lot 23, for 470 Florins to De Winter Gottfried Winkler, Leipzig, by 1768 Probably anonymous sale, “Twee voornamen Liefhebbers” (two distinguished amateurs), Leiden, Delfos, 26 August 1788, lot 85, (as on copper), sold for f. 65.5 to Van de Vinne M. Duval, St. Petersburg (?) and Geneva, by 1812 His sale, London, Phillips, 12 May 1846, lot 42 (as a self-portrait of the artist), sold for £525 Anonymous sale, London, Christie’s, 21 February 1903, lot 80, (as a self-portrait of the artist) Max and Fanny Steinthal, Charlottenburg, Berlin, by 1909, probably acquired in 1903 Thence by descent to the previous owner, Private Collection Belgium, 2012 Exhibited: Berlin, Köningliche Kunstakademie, Illustrierter Katalog der Ausstellung von Bildnissen des fünfzehnten bis achtzehnten Jahrhunderts aus dem Privatbesitz der Mitglieder des Vereins, 31 March – 30 April 1909, cat. -
Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, Through January 19, 2014
Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, through January 19, 2014 The Frick Collection, New York PRESS IMAGE LIST Digital images are available for publicity purposes; please contact the Press Office at 212.547.6844 or [email protected]. 1. Frans Hals (1581/1585–1666) Portrait of Jacob Olycan (1596–1638), 1625 Oil on canvas 124.8 x 97.5 cm Mauritshuis, The Hague 2. Frans Hals (1581/1585–1666) Portrait of Aletta Hanemans (1606–1653), 1625 Oil on canvas 123.8 x 98.3 cm Mauritshuis, The Hague 3. Rembrandt van Rijn (1606–1669) Simeon’s Song of Praise, 1631 Oil on panel (rounded at the upper corners) 60.9 x 47.9 cm Mauritshuis, The Hague 4. Pieter Claesz Vanitas Still Life, 1630 Oil on panel 39.5 x 56 cm Mauritshuis, The Hague 5. Rembrandt van Rijn (1606–1669) “Tronie” of a Man with a Feathered Beret, c. 1635 Oil on panel 62.5 x 47 cm Mauritshuis, The Hague 6. Rembrandt van Rijn (1606–1669) Susanna, 1636 Oil on panel 47.4 x 38.6 cm Mauritshuis, The Hague 7. Nicolaes Maes The Old Lacemaker, c. 1655 Oil on panel 37.5 x 35 cm Mauritshuis, The Hague 8. Carel Fabritius (1622–1654) The Goldfinch, 1654 Oil on panel 33.5 x 22.8 cm Mauritshuis, The Hague 9. Gerard ter Borch (1617–1681) Woman Writing a Letter, c. 1655 Oil on panel 39 x 29.5 cm Mauritshuis, The Hague 10. Jan Steen (1626–1679) Girl Eating Oysters, c. -
Wyznawcy Bachusa – O Grupie Bentvueghels
uart ↪Q Nr 3(41)/2016 il. 1 Inicjacja w Bentvueghels (Inauguration of a New Member of the Bentvueghels in Rome) ok. 1660, Rijksmuseum, Amsterdam (autor nieznany) /40/ Kamil Kościelski / Wyznawcy Bachusa – o grupie Bentvueghels Wyznawcy Bachusa – o grupie Bentvueghels Kamil Kościelski Uniwersytet Wrocławski od koniec XV w. Półwysep Apeniński był istotnym przystankiem � 1 http://www.hadrianus.it/groups/ Pna drodze wielu szlaków handlowych, dzięki czemu region ten bentvueghels (data dostępu: 15 II 2016). przeżywał dynamiczny rozwój gospodarczy. Sprzyjająca koniunktu- 2 Ibidem. ra w pozytywny sposób wpływała na rozkwit życia kulturalnego we 3 Włoszech. Florencja, Rzym, Wenecja i Mediolan stały się ważnymi Ibidem. ośrodkami sztuki. W XVI i XVII w. Włochy stanowiły cel podróży studyjnych wielu holenderskich i flamandzkich artystów (wśród nich m.in. Peter Paul Rubens oraz członkowie rodziny Breughlów), którzy pragnęli zgłębić dzieła oraz tajniki warsztatu uznanych twór- ców. Na tym tle formowała się w Rzymie grupa określana mianem Bentvueghels. Stowarzyszenie to skupiało artystów zagranicznego pochodzenia – głównie holenderskiego i flamandzkiego. Nawiązuje do tego nazwa grupy, tłumaczona na język angielski jako Birds of a Feather (‘ptaki identycznego pióra’). Określenie Bentvueghels wią- że się z idiomem „Birds of a Feather Flock Together”, który oznacza, że ptaki o podobnym upierzeniu trzymają się razem. Stowarzyszenie było również znane pod nazwą Schildersbent, co można przełożyć jako ‘klika malarzy’. Członkami grupy bywali też jednak przedsta- wiciele innych sztuk i cechów rzemieślniczych – wśród nich rysow- nicy, grawerzy, rzeźbiarze, złotnicy, a nawet poeci 1. Szacuje się, że w ciągu całego okresu działalności stowarzyszenia (1620–1720) nale- żało do niego łącznie około 480 osób 2. Żyły one głównie w okolicach czterech rzymskich parafii – Santa Maria del Popolo, Sant’Andrea delle Fratte, San Lorenzo in Lucina oraz Santa Lucia della Tinta. -
Annual Report 2000
2000 ANNUAL REPORT NATIONAL GALLERY OF ART 2000 ylMMwa/ Copyright © 2001 Board of Trustees, Cover: Rotunda of the West Building. Photograph Details illustrated at section openings: by Robert Shelley National Gallery of Art, Washington. p. 5: Attributed to Jacques Androet Ducerceau I, All rights reserved. The 'Palais Tutelle' near Bordeaux, unknown date, pen Title Page: Charles Sheeler, Classic Landscape, 1931, and brown ink with brown wash, Ailsa Mellon oil on canvas, 63.5 x 81.9 cm, Collection of Mr. and Bruce Fund, 1971.46.1 This publication was produced by the Mrs. Barney A. Ebsworth, 2000.39.2 p. 7: Thomas Cole, Temple of Juno, Argrigentum, 1842, Editors Office, National Gallery of Art Photographic credits: Works in the collection of the graphite and white chalk on gray paper, John Davis Editor-in-Chief, Judy Metro National Gallery of Art have been photographed by Hatch Collection, Avalon Fund, 1981.4.3 Production Manager, Chris Vogel the department of photography and digital imaging. p. 9: Giovanni Paolo Panini, Interior of Saint Peter's Managing Editor, Tarn Curry Bryfogle Other photographs are by Robert Shelley (pages 12, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce 18, 22-23, 26, 70, 86, and 96). Fund, 1968.13.2 Editorial Assistant, Mariah Shay p. 13: Thomas Malton, Milsom Street in Bath, 1784, pen and gray and black ink with gray wash and Designed by Susan Lehmann, watercolor over graphite, Ailsa Mellon Bruce Fund, Washington, DC 1992.96.1 Printed by Schneidereith and Sons, p. 17: Christoffel Jegher after Sir Peter Paul Rubens, Baltimore, Maryland The Garden of Love, c. -
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. -
Rembrandt's Mother
Rembrandt’s Mother ca. 1628 Studio of Rembrandt van Rijn oil on panel 35.5 x 29.1 cm JL-106 How To Cite Lloyd DeWitt, "Rembrandt’s Mother", (JL-106), in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017 http://www.theleidencollection.com/archive/ © 2017 Leiden Gallery Rembrandt’s Mother Page 2 of 8 This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. The 1679 inventory of the estate of Clement de Jonghe (1624/25–77), an Amsterdam print dealer who had known and sat for Rembrandt van Rijn (1606–69), identifies, for the first time, the sitter in one of the master’s prints as “Rembrandts moeder” (Rembrandt’s mother).[1] The exact etching referred to in this inventory is not known, but it was undoubtedly one of a number of images of an old woman that Rembrandt made in the late 1620s and early 1630s (fig 1). The identification of this sitter as Rembrandt’s mother is probably correct given the number of times that Fig 1. Rembrandt van Rijn, [2] Rembrandt’s Mother, 1628, Rembrandt depicted her. She also served as a model for other Leiden etching, 64 x 64 mm, British artists, including Jan Lievens (1607–74)[3] and apprentices in Rembrandt’s Museum, London, F,6.122, 1843,0607.219, © Trustees of studio, among them Gerrit Dou (1613–75),Isaac de Jouderville (ca. -
Hirschfelder, Dagmar: Tronie Und Porträt in Der Niederländischen Malerei Des 17
Hirschfelder, Dagmar: Tronie und Porträt in der niederländischen Malerei des 17. Jahrhunderts, Berlin: Gebr. Mann Verlag 2008 ISBN-10: 3-7861-2567-8, 552 S., ¤ 98 Reviewed by: Lyckle de Vries, Groningen Some critics use the word 'tronie' as the name of a genre comparable to that of landscape or por- trait but this a recent development, not justified by the way in which seventeenth-century sources apply the word. Hirschfelder rightly concludes that we don’t have a useable definition for this class of paintings yet, and she tries to find it by studying the similarities and differences between tronies and related groups of paintings. Every single aspect of this limited subject is carefully anal- ysed and this monolith of solidity and thoroughness could be considered a classic in the field of art history, if only an editor had been hired to reduce its text by 30%, reorganising it and making superfluous the many repetitions that seem to be unavoidable in the book’s present structure. This is my main objection to an otherwise admirable book. The author concludes that the makers of 'tronies' aimed for the depiction of highly interesting types of figures with characteristic physiognomies, and at the same time tried to demonstrate their virtuosity in all aspects of their craft. She states that the 'tronie' originated in Leiden and Haarlem in the third decade of the seventeenth century, where Jan Lievens, Rembrandt and Frans Hals were its inventors. This choice implies a definition: a painting is a 'tronie' when it has the characteristics these three artists gave to their 'tronies'. -
Report Knaw Project
REPORT KNAW PROJECT Mapping Notes and Nodes in Networks Exploring potential relationships in biographical data and cultural networks in the creative industry in Amsterdam and Rome in the Early Modern Period Main applicant: Prof dr. Charles van den Heuvel (Huygens ING) - editor Embedded researcher and coordinator: Leonor Álvarez Francés (Huygens ING) - text Private partner: Lab1100 Starting date: 1st January 2014 Finishing date: 1st November 2014 Mapping Notes and Nodes in Networks Note to the reader This report describes the outcomes of a so-called Public-Private-Project (PPP) of the Royal Netherlands Academy of Arts and Sciences (KNAW) that makes part of a joint venture of the University of Amsterdam (UvA), Vrije University Amsterdam (VU) and the KNAW to support research in the digital humanities that focuses on collaboration between research institutions, non-profit organizations (e.g. cultural heritage institutions) and private companies in the creative industry to develop innovative digital research methods and new modes of valorisation of humanities knowledge. The KNAW-Public Private Project: Mapping Notes and Nodes was a collaboration between the Huygens Institute for the History of the Netherlands (Huygens ING) and a software development company for research in the humanities Lab1100 (Pim van Bree, Geert Kessels). Purpose of the collaboration was to develop a tool within Lab1100’s platform Nodegoat to visualize the data imported from three different databases in order to establish priorities for data integration in the humanities. The embedded researcher and coordinator Leonor Álvarez Francés, together with Pim van Bree and Geert Kessels (Lab1100) experimented two days per week for a period of nine months with data import and data integration of heterogeneous datasets. -
Report Knaw Project
REPORT KNAW-PPP- PROJECT: Mapping Notes and Nodes in Networks Exploring potential relationships in biographical data and cultural networks in the creative industry in Amsterdam and Rome in the Early Modern Period Main applicant: Prof dr. Charles van den Heuvel (Huygens ING) - editor Embedded researcher: Leonor Álvarez Francés (Huygens ING) - text Private partner: Lab1100 Starting date: 1st January 2014 Finishing date: 1st November 2014 Mapping Notes and Nodes in Networks Note to the reader This report describes the outcomes of a so-called Public-Private-Project (PPP) of the Royal Netherlands Academy of Arts and Sciences (KNAW) that makes part of a joint venture of the University of Amsterdam (UvA), Vrije University Amsterdam (VU) and the KNAW to support research in the digital humanities that focuses on collaboration between research institutions, non-profit organizations (e.g. cultural heritage institutions) and private companies in the creative industry to develop innovative digital research methods and new modes of valorisation of humanities knowledge. The KNAW-Public Private Project: Mapping Notes and Nodes was a collaboration between the Huygens Institute for the History of the Netherlands (Huygens ING) and a software development company for research in the humanities Lab1100 (Pim van Bree, Geert Kessels). Purpose of the collaboration was to develop a tool within Lab1100’s platform Nodegoat to visualize the data imported from three different databases in order to establish priorities for data integration in the humanities. The embedded researcher Leonor Álvarez Francés, together with Pim van Bree and Geert Kessels (Lab1100) experimented two days per week for a period of nine months with data import and data integration of heterogeneous datasets.