Loans to the National Gallery April 2009–March 2010
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Ca' Rezzonico
Fondazione Musei Civici di Venezia — Ca’ Rezzonico Museum of the 18th Century Venice The Ferruccio Mestrovich Collection ENG da ballo MEZZANINE BROWNING / THE FERRUCCIO MESTROVICH COLLECTION Canal Grande The Collection The collection contains a nucleus his assets were confiscated by of sixteen paintings, all of high the Yugoslav government and never quality. returned. There are two major works by His son Audace worked for many Iacopo Tintoretto, an altar-piece of years in Venice as a lawyer. striking intensity and an austere His youngest son, Ferruccio, portrait. Particularly noteworthy a passionate scholar of early is a glowing and intimate “Sacra Veneto painting, is the donor of Conversazione” by Bonifacio de’ this collection: the attributions of Pitati; in addition, there are other the paintings are the result of his works by Benedetto Diana, Lelio research and studies; indeed, his Orsi, Jacopo Amigoni, Francesco suggestions and indications have Guardi and Alessandro Longhi, two assisted several scholars on many “soprarchi” (paintings above an occasions in the publication of his arch) by Benedetto Carpaccio, son paintings and other collections. and follower of Vittore and a small panel by Cima da Conegliano. The Mestrovichs belong to an ancient Dalmatian family originally from Zara and have lived in Venice since 1945. The head of the family, Aldo (1885-1969) was persecuted during the Austrian rule for his Ca’ Rezzonico, The Ferruccio Mestrovich Collection Italian patriotism; > 1 1. Benedetto Diana section of the polyptych frieze in the ITINERARY AND (Venice, 1460 ca. – 1525) San Francesco convent church in WORKS OF ART Christ Benedictory Miglionico, near Matera, taken there (oil on wood, 60 x 52,5 cm) at the end of the 16th century after being purchased in Venice by Don It’s a very interesting work of art Marcantonio Mizzoni. -
OKALOOSA VOLUNTEER ART LESSONS O.V.A.L. Team
OKALOOSA VOLUNTEER ART LESSONS O.V.A.L. Team Handbook Okaloosa District Schools Revised 9/2012 OKALOOSA VOLUNTEER ART LESSONS - OVAL ART OVAL Art began in Okaloosa County in 1988. School District Director of Fine Arts, Dr. Bruce Criswell, modeled OVAL Art after a similar program developed in Brevard County. The original manual will remain available as a download. Many changes have occurred since 1988, not least, the development of the Internet; online resources are plentiful and easy to access. Volunteers to deliver the program, alas, are not; therefore, this update will present a pragmatic and streamlined overview of the program as it has been presented in training over the last several years. All that is required of an OVAL volunteer is an enjoyment of art, and enjoyment of working with elementary age children - that's it! WHAT YOU DO: Each grade, from K - 5, has designated art prints for its program. Volunteers go into the classroom periodically, for about 30 minutes, and present the print chosen for that session. This is an art appreciation program, so offering biographical material about the artist, along with asking questions about the print, will give a good basic lesson. You may augment this with other works by the artist - there are plenty of online resources, as well as inexpensive art book series for children; and of course the library is a prime resource as well. Depending upon the print, you may want to have the class draw a version themselves, using the pencils and crayons they have, and whatever 8.5 x 11 paper the teacher can share (do try to let teachers know IN ADVANCE if the class will be drawing). -
An Annotated List of Italian Renaissance Humanists, Their Writings About Jews, and Involvement in Hebrew Studies, Ca
An annotated list of Italian Renaissance humanists, their writings about Jews, and involvement in Hebrew studies, ca. 1440-ca.1540 This list, arranged in chronological order by author’s date of birth, where known, is a preliminary guide to Italian humanists’ Latin and vernacular prose and poetic accounts of Jews and Judaic culture and history from about 1440 to 1540. In each case, I have sought to provide the author’s name and birth and death dates, a brief biography highlighting details which especially pertain to his interest in Jews, a summary of discussions about Jews, a list of relevant works and dates of composition, locations of manuscripts, and a list of secondary sources or studies of the author and his context arranged alphabetically by author’s name. Manuscripts are listed in alphabetical order by city of current location; imprints, as far as possible, by ascending date. Abbreviations: DBI Dizionario biografico degli Italiani (Rome: Istituto della enciclopedia italiana, 1960-present) Kristeller, Iter Paul Oskar Kristeller, Iter Italicum: A Finding List of Uncatalogued or Incompletely Catalogued Humanistic Manuscripts of the Renaissance in Italian and Other Libraries; Accedunt alia itinera, 6 vols (London: Warburg Institute; Leiden: E. J. Brill, 1963-1991) Simon Atumano (d. c. 1380) Born in Constantinople and became a Basilian monk in St John of Studion there. Bishop of Gerace in Calabria from 1348 until 1366, and Latin archbishop of Thebes until 1380. During his time in Thebes, which was the capital of the Catalan duchy of Athens, he studied Hebrew and in the mid- to late-1370s he began work on a polyglot Latin-Greek-Hebrew Bible dedicated to Pope Urban VI. -
A Field Awaits Its Next Audience
Victorian Paintings from London's Royal Academy: ” J* ml . ■ A Field Awaits Its Next Audience Peter Trippi Editor, Fine Art Connoisseur Figure l William Powell Frith (1819-1909), The Private View of the Royal Academy, 1881. 1883, oil on canvas, 40% x 77 inches (102.9 x 195.6 cm). Private collection -15- ALTHOUGH AMERICANS' REGARD FOR 19TH CENTURY European art has never been higher, we remain relatively unfamiliar with the artworks produced for the academies that once dominated the scene. This is due partly to the 20th century ascent of modernist artists, who naturally dis couraged study of the academic system they had rejected, and partly to American museums deciding to warehouse and sell off their academic holdings after 1930. In these more even-handed times, when seemingly everything is collectible, our understanding of the 19th century art world will never be complete if we do not look carefully at the academic works prized most highly by it. Our collective awareness is growing slowly, primarily through closer study of Paris, which, as capital of the late 19th century art world, was ruled not by Manet or Monet, but by J.-L. Gerome and A.-W. Bouguereau, among other Figure 2 Frederic Leighton (1830-1896) Study for And the Sea Gave Up the Dead Which Were in It: Male Figure. 1877-82, black and white chalk on brown paper, 12% x 8% inches (32.1 x 22 cm) Leighton House Museum, London Figure 3 Frederic Leighton (1830-1896) Elisha Raising the Son of the Shunamite Woman 1881, oil on canvas, 33 x 54 inches (83.8 x 137 cm) Leighton House Museum, London -16- J ! , /' i - / . -
To Theo Van Gogh, the Hague, on Or About Friday, 13 July 1883
To Theo van Gogh, The Hague, on or about Friday, 13 July 1883. on or about Friday, 13 July 1883 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b323 V/1962 (sheet 1) and b1036 V/1962 (sheet 2) Date: Vincent asks Theo to send a little extra, because he is already broke as a result of spending money in order to be able to start painting in Scheveningen (l. 49 and ll. 82-85). That places this letter after letter 361 of on or about 11 July 1883, since there he wrote that he wanted to work in Scheveningen. It must also have been written before the coming Sunday, when he is expecting a photographer (l. 79; in letter 363 this photographer indeed turns out to have come). We therefore date the letter on or about Friday, 13 July 1883. Additional: Original [1r:1] Waarde Theo, Voor ik naar Schevening ga wou ik nog even een woordje met U praten. Ik heb t maar eens doorgezet met de Bock dat ik bij hem een pied terre krijg. Misschien zal ik nu & dan bij Blommers eens aangaan ook.1 En dan is mijn plan een tijd lang Schevening geheel & al als hoofdzaak te beschouwen, smorgens er heen te gaan en den dag te blijven, of anders als ik thuis moet zijn dat thuis zijn in t middaguur te stellen als t te warm is en dan savonds er weer heen. Dit zou me nieuwe idees geven vertrouw ik, en rust, niet door stilzitten maar door verandering van omgeving en bezigheid. -
The Toilet of Venus Circle of Veronese
THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations................................................................................................................................................... -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Vincent Van Gogh
What is the price of a painting? F$160 millions (16 years ago) Is this a free market competitive price? by Vincent Van Gogh 1 Vincent Van Gogh (1853 to 1890) From a website devoted to his works: The son of a Dutch pastor, brought up in a religious and cultured atmosphere, Vincent was highly emotional and lacked self-confidence. Between 1860 and 1880, when he finally decided to become an artist, van Gogh had two unhappy romances, worked unsuccessfully as a clerk in a bookstore, an art salesman, and a preacher in the Borinage (a mining district in Belgium), where he was dismissed for “overzealousness”. He remained in Belgium to study art. The works of his early Dutch period are somber-toned, sharply lit, genre paintings of which the most famous is "The Potato Eaters" (1885). In that year van Gogh went to Antwerp where he discovered the works of Rubens and purchased many Japanese prints. 2 His life In 1886 he went to Paris to join his brother Théo, the manager of Goupil's gallery. In Paris, van Gogh studied with Cormon, inevitably met Pissarro, Monet, and Gauguin, and began to lighten his very dark palette and to paint in the short brushstrokes of the Impressionists. His nervous temperament made him a difficult companion and night-long discussions combined with painting all day undermined his health. He decided to go south to Arles where he hoped his friends would join him and help found a school of art. Gauguin did join him but with disastrous results. In a fit of epilepsy, van Gogh pursued his friend with an open razor, was stopped by Gauguin, but ended up cutting a portion of his ear lobe off. -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
SYMBOLIC HISTORY Through Sight and Sound
SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 September 1995 Last Revised January ‘96 1 Charles Greenleaf Bell, 1260 Canyon Rd., Santa Fe, NM 87501 SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) 1) Giulio Romano, 1530-32, Fall of the Giants, frescoed room, corner and two walls, Palazzo del Te, Mantua (CGB '86) 1a) Same, detail, stream and Giant under rocks, (CGB '86); video brings in another detail from the last slide of the show, 80+1. Music: Ant .de Cabezon, c. 1540, Tiento de Primer Tono, Videro on HMV DA 5207 In The Winter's Tale, the living Hermione is presented as a statue "by that rare Italian master Julio Romano, who, had he himself eternity, and could put breath into his work, would beguile Nature of her custom, so perfectly is he her ape." In this 1530 Mantuan vault, his heaven-storming giants fall under the rocks of Pelion and Ossa. (music) In the tientos of Cabezon, we feel what turned the loves and thought of that century toward Prometheus, Icarus, Phaeton and Faust. 2) Titian, 1543-44, David and Goliath, Santa Maria della Salute, Venice; + V detail) (music continued) There were giants in the earth in those days...when the sons of God came in unto the daughters of men. And when the spiritual force stored in medieval creed-condensers struck through the physical, it stirred Gargantuan prodigies: the arts of space and mass, Hermetic and Lucretian science, Reformation, Utopias, world conquest, Platonic love, the Age of Gold. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
University of Warwick Institutional Repository: a Thesis Submitted for the Degree of Phd at The
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36168 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Critical and Popular Reaction to Ibsen in England: 1872-1906 by Tracy Cecile Davis Thesis supervisors: Dr. Richard Beacham Prof. Michael R. Booth Submitted for the degree of Doctor of Philosophy, University of Warwick, Department of Theatre Studies. August, 1984. ABSTRACT This study of Ibsen in England is divided into three sections. The first section chronicles Ibsen-related events between 1872, when his work was first introduced to a Briton, and 1888, when growing interest in the 'higher drama' culminated in a truly popular edition of three of Ibsen's plays. During these early years, knowledge about and appreciation of Ibsen's work was limited to a fairly small number of intellectuals and critics. A matinee performance in 1880 attracted praise, but successive productions were bowdlerized adaptations. Until 1889, when the British professional premiere of A Doll's House set all of London talking, the lack of interest among actors and producers placed the responsibility for eliciting interest in Ibsen on translators, lecturers, and essayists. The controversy initiated by A Doll's House was intensified in 1891, the so-called Ibsen Year, when six productions, numerous new translations, debates, lectures, published and acted parodies, and countless articles considered the value and desirability of Ibsen's startling modern plays.