DOCSLIB.ORG

IMPRESSIONISM and BRAZIL Ministry of Culture and Museu De Arte Moderna De São Paulo Present

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMPRESSIONISM and BRAZIL Ministry of Culture and Museu De Arte Moderna De São Paulo Present MODERNO EXTRA YEAR 9 #7 SÃO PAULO MAY/JUN/JUL 2017 FREE DISTRIBUTION IMPRESSIONISM AND BRAZIL Ministry of Culture and Museu de Arte Moderna de São Paulo present IMPRESSIONISM AND BRAZIL Curated by Great Hall Felipe Chaimovich May 16 through August 27, 2017 PRESENTATION The exhibition Impressionism and The curator Felipe Chaimovich pro- Brazil looks at the arrival and devel- vides a didactic overview of how the opment of the first industrial art in conditions that made the movement the country. Among the roughly one possible in France took hold here in hundred works on show at MAM’s Brazil as well. The exhibition retraces Main Hall are several paintings by the these developments and presents French impressionist Pierre-Auguste articles that exemplify the kind of Renoir, a leading light of the Europe- industrially produced art supplies on an avant-garde. On the Brazilian side, sale in Rio de Janeiro between 1844 the exhibition features the pioneers and the 1930s, among pochades, para- of the style in Rio de Janeiro, the sols, rucksacks, foldable easels and an German Georg Grimm, and two of his unprecedented array of pigments. pupils, the Italian Battista Castagneto and the Brazilian Antonio Parreiras. With texts by the curator and suggest- ed activities by MAM’s Educational Impressionism emerged out of the department, this edition of Moderno rapid plein-air landscape painting en- MAM Extra invites the public to learn abled by innovations in the industrial a little more about the first industrial production of oil paints during the art in Brazil. Enjoy your reading. 19th century. From there, the tech- nique branched out into other genres, such as portraiture and still-life. CONTENTS Impressionism and Brazil: 5 The Birth of Industrial Art Felipe Chaimovich Selected Works 15 Timeline 31 The Fisrt Palette 38 Antonio Parreiras Poetic Experiments 41 Educativo MAM Master Sponsorship Sponsorship Realization Works Exhibited 49 IMPRESSIONISM AND BRAZIL 7 IMPRESSIONISM AND BRAZIL: THE BIRTH OF INDUSTRIAL ART Felipe Chaimovich Industrially produced materials Duchamp. So where does Brazil purveyors of specialist art supplies. have been of interest to artists since come into this story? This rampant growth during the the beginning of the Industrial 1880s made landscape painting a Revolution. An inaugural example The industrially-produced mate- major draw at the Imperial Acad- of this interest was impressionism, rials liberally used by the impres- emy of Fine Arts, giving rise to the which marked the advent of a sionists were created in response first art school in Rio de Janeiro, as collective of independent artists to a growing market catering to the the historian Gonzaga Duque noted identified with the intense and amateur outdoor artist. The hun- in a book from 1888. This school of methodical use of new industrial dred years prior to impressionism art en plein air spurred the devel- materials for painting. Impression- had seen the advent of a new form of opment of a local strain of impres- ism emerged in France during the travel-and-paint tourism in Europe sionism, tailored to the rugged, 1870s, and its works can be found and the United States. The growing jagged terrains of places like Bota- today in the collections of all the number of adepts of plein air art fogo Cove, the changing light and leading galleries and museums fuelled a market for pochades, box crashing waves of Guanabara Bay, presenting the accepted history of easels, parasols, backpacks, and and the encroaching cityscape of modern art to the general public. an innovative gamut of synthetic Copacabana. Coincidentally, these The impressionists used oil paints pigments invented by chemists and same places today are world-fa- and paintbrushes that were new on mass-produced in factories. The mous tourist attractions practically the market to dramatically broaden result was a booming, global mar- synonymous with Brazil itself. So the expressive use of colour, volume ket, and Rio de Janeiro gives good it was during the first cycle of the and light, leaving a generous legacy measure of its expansion: in 1844, globalisation of capitalism, back in to the later artistic canon: Van the city had only six general paint the 19th century, that Brazil joined Gogh, Gaugin, Braque, Picasso, stores; by 1889, there were fifty-two the history of industrial art. 8 IMPRESSIONISM AND BRAZIL THE BIRTH OF INDUSTRIAL ART 9 Picturesque tourism was the trigger location, a practice that allowed the er’s eye in the first place. According varied pigments.8 And oil paints for brushes started to feature metal fer- air painting. It was one of these, behind this rapid expansion of the traveller to record the “impressions” to Valenciennes, this outdoor sitting artists benefitted from the industri- rules instead of bird feathers to at- Jean-Victor Bertin, who encouraged market for outdoor painting. In 1782, caused by these rugged features: should be kept within a specific time- alisation of synthetic colours. In the tach the bristles to the handle. These Corot to go practice in Fontaine- William Gilpin published a journal “From this correct knowledge of frame: “all studies drawn from life first half of the 19th century, five new metal bands made it possible to cre- bleau Forest. From 1829 onwards, on his travels in Wales, Great Britain, objects arrives another amusement; should be executed within two hours greens came on the market, includ- ate flat-belly brushes in addition to Corot painted regularly in Fontaine- related specifically to the search for that of representing by a few strokes at the very most, and no more than ing Veronese green and viridian. the traditional round ones. The flat bleau from his base in Barbizon. It “picturesque beauty.”1 In this book, in a sketch those ideas which have half an hour in the case of the rising The French firm Lefranc had four of brush enabled artists to apply thick was there that Corot adopted the Gilpin describes the challenges fac- made the most impression upon us.”4 or setting sun.”7 these new hues in its catalogue in the layers of oils, hitherto only possible “blond palette” of white-tinted ing the traveller scouting for unique From that time on, picturesque trav- 1850s, alongside only one natural- with a spatula, while retaining the hues.12 The light-filled effect was scenery, given the irregular terrain el became increasingly popular in Valenciennes’ method en plein air ly-occurring pigment, terre-verte.9 facture of the bristle tracks. the very opposite to the light-on- and wild vegetation it often involves. Europe and caught on in the United limited the chromatic effect ob- The pigments were sold in bulk, dark method hitherto dominant in The author also adds sketches of his States too, after 1820.5 tained through these quick-fire ground or otherwise, to artisanal co- In relation to painting en plein air, oil painting, as the composition no own, intended to “give a general idea sittings to the colours available lourmen, or else came ready to use, artist supplies stores offered oth- longer depended on the dark under- of the place, or scene, without enter- Besides the amateurs, professional for work in the field. The range of mixed with oil or wax. er practical items, such as folding lay to obtain foreground volumes. ing into the details of portrait,”2 as painters also saw demand grow with pigments used in painting in the late stools and box easels, parasols, back- Blond-palette painting, on the other is only appropriate for a travel guide the picturesque genre. Some tourists 18th century were pretty much the The growing demand for oil paints packs and portable palette cases, all hand, considered the background seeking to identify paintable views, even hired painters to accompany same as in the previous centuries, also drove innovation in paint pack- of which begin to be offered on the every bit as luminous as the fore- that is, picturesque settings. For them on their travels so that they with few exceptions, such as Na- aging. Up until the beginning of the mid-century catalogues of Lefranc ground. Exploring the blond-palette Gilpin, such places can be described could have something to show upon ples yellow, created from lead (II) 19th century, paints were stored in and Winsor & Newton technique enabled Corot to refine his as rough: “[…] we do not scruple to their return. The extent of the popu- antimonate around 1620. As such, pigskin bladders. However, between style and, as other painters joined assert that roughness forms the most larisation of landscape painting can the tones obtained by mixing paints the 1830s and 1840s, the English firm Taken together, these changes him in Fontainebleau from 1830 on, essential point of difference between be seen from an innovative manual in the outdoors within such a narrow Winsor & Newton started selling oil spurred by the Industrial Revolu- the Barbizon group took on an iden- the beautiful and the picturesque; as on the genre published in France in timeframe were basically restricted paints in glass syringes and experi- tion changed the practice of outdoor tity of its own. The new oil colours it seems to be that particular quality 1799 by Pierre Henri Valenciennes,6 to the effects of sky and cloud. The menting with squeezable inorganic painting. The practicality of the meant plein air painting could be which makes objects chiefly pleasing which could be used by amateurs same technical conditions applied bladders. In 1840, the North Ameri- tin tubes and the expanded palette done with a greater range of ready- in painting.”3 The notion of land- and professionals alike. The au- to coloured amateur sketches, which can John Rand patented in London they afforded saw oil paints finally made paints that, mixed with white, scape roughness became a central thor argued that landscapes should recorded the picturesque tourist’s a collapsible tin tube for storing and outstrip watercolours, the undis- could achieve far greater and more aspect of the English garden in the always be started en plein air, but impressions.
Load more

Recommended publications
  • Alla Prima - Impasto
    ALLA PRIMA - IMPASTO Block in color areas opaquely on the canvas and create volume and mass wet-in-wet. This process combines drawing, modeling and color all at once. The painting builds layers as they are adjusted and corrected, the process is not separated into distinct stages as with indirect painting. This technique is called “alla prima”(Italian for “at the first”). This is sometimes called direct painting. With this technique the painter will start with broad general strokes to get the general form. This is usually done with thin paint. Usually the darks are brought up first. Next paint is applied directly over this wet paint in thicker, more opaque layers. It is very important to keep the colors clean and the strokes accurate and decisive. It is very easy to make a muddy mess. The actual variations on this style are limitless. It may not necessarily be done in one sitting. One of the great masters of this style was Peter Paul Rubens. Wet-in-wet - or alla prima painting techniques, in which paintings are completed in one or two sessions without allowing layers to dry, do not require adherence to the "fat over lean" rule. Such paintings effectively form only one paint layer, so the rule does not apply. Impasto - Term for paint that is thickly applied to a canvas or panel so that it stands in relief and retains the marks of the brush or palette knife. Early panel paintings show little impasto, but with the adoption of oil painting on canvas, painters such as Titian and Rembrandt explored the possibilities of the technique.
    [Show full text]
  • AN ANALYTICAL STUDY of P. A. RENOIRS' PAINTINGS Iwasttr of Fint Girt
    AN ANALYTICAL STUDY OF P. A. RENOIRS' PAINTINGS DISSERTATION SU8(N4ITTED IN PARTIAL FULFILMENT OF THE REQUIfJIMENTS FOR THE AWARD OF THE DEGREE OF iWasttr of fint girt (M. F. A.) SABIRA SULTANA '^tj^^^ Under the supervision of 0\AeM'TCVXIIK. Prof. ASifl^ M. RIZVI Dr. (Mrs) SIRTAJ RlZVl S'foervisor Co-Supei visor DEPARTMENT OF FINE ART ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 Z>J 'Z^ i^^ DS28S5 dedicated to- (H^ 'Parnate ALIGARH MUSLIM UNIVERSITY CHAIRMAN DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.), INDIA Dated TO WHOM IT MAY CONCERN This is to certify that Sabera Sultana of Master of Fine Art (M.F.A.) has completed her dissertation entitled "AN ANALYTICAL STUDY OF P.A. RENOIR'S PAINTINGS" under the supervision of Prof. Ashfaq M. Rizvi and co-supervision of Dr. (Mrs.) Sirtaj Rizvi. To the best of my knowledge and belief the work is based on the investigations made, data collected and analysed by her and it has- not been submitted in any other university or Institution for any degree. Mrs. SEEMA JAVED Chairperson m4^ &(Mi/H>e& of Ins^tifHUion/, ^^ui'lc/aace' cm^ eri<>ouruae/riefity: A^ teacAer^ and Me^^ertHs^^r^ o^tAcsy (/Mser{xUlafi/ ^rof. £^fH]^ariimyrio/ar^ tAo las/y UCM^ accuiemto &e^£lan&. ^Co Aasy a€€n/ kuid e/KHc^ tO' ^^M^^ me/ c/arin^ tA& ^r€^b<ir<itlan/ of tAosy c/c&&erla6iafi/ and Aasy cAecAe<l (Ao contents' aMd^yormM/atlan&^ arf^U/ed at in/ t/ie/surn^. 0A. Sirta^ ^tlzai/ ^o-Su^benn&o^ of tAcs/ dissertation/ Au&^^UM</e^m^o If^fi^^ oft/us dissertation/, ^anv l>eAo/den/ to tAem/ IhotA^Jrom tAe/ dee^ o^nu^ l^eut^.
    [Show full text]
  • Histories of Nineteenth-Century Brazilian
    Perspective Actualité en histoire de l’art 2 | 2013 Le Brésil Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Histoires de l’art brésilien du XIXe siècle : un bilan critique de la bibliographie, 2000-2012 Histórias da arte brasileira do século XIX: uma revisão critica da bibliografia Geschichten der brasilianischen Kunst des 19. Jahrhunderts : eine kritische Bilanz der Bibliographie, 2000-2012 Storie dell’arte brasiliana dell’Ottocento: un bilancio critico della bibliografia, 2000-2012 Historias del arte brasileño del siglo XIX: un balance crítico de la bibliografía, 2000-2012 Rafael Cardoso Electronic version URL: http://journals.openedition.org/perspective/3891 DOI: 10.4000/perspective.3891 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 31 December 2013 Number of pages: 308-324 ISSN: 1777-7852 Electronic reference Rafael Cardoso, « Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 », Perspective [Online], 2 | 2013, Online since 30 June 2015, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/3891 ; DOI : https://doi.org/10.4000/ perspective.3891 Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Rafael Cardoso The history of nineteenth-century Brazilian art has undergone major changes over the first years of the twenty-first century. It would be no exaggeration to say that more has been done in the past twelve years than in the entire preceding century, at least in terms of a scholarly approach to the subject. A statement so sweeping needs to be qualified, of course, and it is the aim of the present text to do just that.
    [Show full text]
  • Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
    art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • 18 XXVICBHA Marize Malta.Indd 139 02/07/2007 17:20:44 XXVI Colóquio · CBHA
    A história da arte e a práxis artística: saber decorativo na formação acadêmica Profa. Marize Malta Professora da EBA- UFRJ Doutoranda em História Social - UFF Nas disciplinas de história da arte lecionadas no Brasil raríssimos fo- ram aqueles professores que incluíram em seus planos de aula noções sobre os objetos decorativos. Eles consagraram o habitus de uma história da arte como história das belas-artes ou das artes puramente visuais. A arte deco- rativa, diante desse fato, não foi considerada vestígio significante para uma história dita de arte; no máximo, foi vista como coisa secundária. Onde estavam, então, as artes decorativas? Elas estavam nas mesmas escolas onde as disciplinas de história da arte eram ensinadas e elas hoje corres- pondem a maioria dos cursos que gradua profissões ligadas à arte, atualizadas pelo invólucro do design: Desenho Industrial, Comunicação Visual, Cenografia, Indumentária, Design de Interiores, Paisagismo. Se na teoria da arte a arte decorativa tradicionalmente foi considerada uma categoria de arte dúbia e menor, sendo preterida nos livros de história da arte, no âmbito institucional das academias e escolas de arte, instâncias de consagração e de reprodução de produtores1, a relação foi outra. A relação entre prática e teoria da arte atuou nas academias de forma peculiar, pois a escolha de que cursos oferecer e a seleção de que histórias da arte ensinar implicaram concepções e interpretações de arte precisas. A partir dos estra- nhamentos vividos nessa relação, as intolerâncias com o diferente se fizeram visíveis. Se o objeto utilitário ou a prática do fazer decorativo não ganhou destaque na história contada aos alunos-artistas, a formação profissional do artista-decorador foi alcançando status de conhecimento especializado e, como tal, importante fator de distinção profissional.
    [Show full text]
  • Egg Tempera Technique
    EGG TEMPERA MISCONCEPTIONS By Koo Schadler "Egg tempera is a simple, cheap, easy-to-use technique that produced gorgeous effects...Yet nobody seems to know it." Robert Vickrey (1926-2011) There are many misconceptions regarding egg tempera, and reasons for their existence and persistence. A superficial understanding of tempera limits its potential. This handout hopes to dispel some of the myths. THE REASONS FOR MISCONCEPTIONS Reason #1: The Influence of the Renaissance Egg tempera reached its peak of popularity and achievement in the early Renaissance (approximately 1400- 1450) in Italy, and is notably associated with that time and place. Most Italian, early Renaissance paintings present a less naturalistic, more idealized rendering of the world: minimal light and shadow effects; more high-key (light) values; purer, less dirtied color; cooler color temperatures; less fully three-dimensional forms. For the most part these visual choices are not inevitable to egg tempera. Instead they reflect the less realistic, more spiritually oriented medieval perspective still present in early 1400s Italy (consequently changed by the Renaissance). Because most of these paintings were done in egg tempera, people presume the medium (rather than the culture and its thinking) accounts for this aesthetic. Misconceptions also arise from egg tempera’s association with Italian Renaissance working methods. Masters and guilds taught a successful but prescribed way of developing a painting. Its not the only way to work in tempera, but often is presented as such. Reason #2: Egg Tempera’s Disappearance Renaissance artists aspired to increasing realism in images. Oil painting has advantages (described in Misconception #7) over tempera in depicting the material world and, by the late 1400s, oil became the predominate medium of the Renaissance.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) Study on the Stylization of Color Language in Landscape Oil Painting Lihong Zhang1,* 1Academy of Fine Arts, Huanggang Normal University, Huanggang, Hubei 438000, China *Corresponding author. Email: [email protected] ABSTRACT As an independent genre in painting, landscape oil painting has undergone the process of breaking away from Western oil painting and forming a complete landscape color system, which is accompanied by the style evolution of color language. Taking the French Impressionism and Russian Itinerants as research object, the paper attempts to clear the development of landscape oil painting with art history as entry point in combination with style and characteristic of color language in Chinese landscape oil painting, highlighting the importance of outdoors painting for landscape color language, as well as providing relevant teaching with theory of beneficial complement and practical reference. Keywords: oil painting landscape, color language, stylization I. INTRODUCTION II. CLASSIC SOY SAUCE COLOR As an independent type of painting, Western The landscape oil paintings in classical period landscape oil painting developed through the classical, mainly serve as background, foiling the theme. The modern, and contemporary periods. At the same time, altarpiece The Miraculous Draft of Fishes by Swiss its color language style has gone through many painter Conrad Witz is generally regarded as the earliest changes. Such transformation is driven by internal landscape painting. Although the practice of painting factors covering the cognition process and combination the landscape in oil paint existed in classical times, it of colors, as well as by external factors including social has not been independent from the form of painting, but and historical background, cultural trend of thought and an accompaniment to the figures.
    [Show full text]
  • Mário Pedrosa PRIMARY DOCUMENTS
    Mário Pedrosa PRIMARY DOCUMENTS Editors Glória Ferreira and Paulo Herkenhoff Translation Stephen Berg Date 2015 Publisher The Museum of Modern Art Purchase URL https://store.moma.org/books/books/mário-pedrosa-primary-documents/911- 911.html MoMA’s Primary Documents publication series is a preeminent resource for researchers and students of global art history. With each volume devoted to a particular critic, country or region outside North America or Western Europe during a delimited historical period, these anthologies offer archival sources–– such as manifestos, artists’ writings, correspondence, and criticism––in English translation, often for the first time. Newly commissioned contextual essays by experts in the field make these materials accessible to non-specialist readers, thereby providing the critical tools needed for building a geographically inclusive understanding of modern art and its histories. Some of the volumes in the Primary Documents series are now available online, free-of-charge. © 2018 The Museum of Modern Art 2 \ Mário Pedrosa Primary Documents Edited by Glória Ferreira and Paulo Herkenhoff Translation by Stephen Berg The Museum of Modern Art, New York Leadership support for Mário Pedrosa: Copyright credits for certain illustrations Primary Documents was provided and texts are cited on p. 463. by The International Council of The Museum of Modern Art. Distributed by Duke University Press, Durham, N.C. (www.dukepress.edu) Library of Congress Control Number: 2015954365 This publication was made possible ISBN: 978-0-87070-911-1 with cooperation from the Fundação Roberto Marinho. Cover: Mário Pedrosa, Rio de Janeiro. c. 1958 p. 1: Mário Pedrosa in front of a sculp- Major support was provided by the ture by Frans Krajcberg at the artist’s Ministério da Cultura do Brasil.
    [Show full text]
  • The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
    Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R.
    [Show full text]
  • Roger Vadim, BARBARELLA (1968, 98 Minutes)
    3 March 2015 (Series 30:6) Roger Vadim, BARBARELLA (1968, 98 minutes) Directed by Roger Vadim Written by Jean-Claude Forest (comic), Claude Brulé, Terry Southern (screenplay), Roger Vadim (screenplay), Vittorio Bonicelli, Clement Biddle Wood, Brian Degas, and Tudor Gates Produced by Dino De Laurentiis Music by Charles Fox Cinematography by Claude Renoir Film Editing by Victoria Mercanton Production Design by Mario Garbuglia Costume Design by Jacques Fonteray and Paco Rabanne Jane Fonda ... Barbarella John Phillip Law ... Pygar Anita Pallenberg ... The Great Tyrant Milo O'Shea ... Concierge / Durand-Durand Marcel Marceau ... Professor Ping Games, 1976 Une femme fidèle, 1974 La jeune fille assassinée, Claude Dauphin ... President of Earth 1973 Don Juan (Or If Don Juan Were a Woman), 1972 Hellé, Véronique Vendell ... Captain Moon 1971 Pretty Maids All in a Row, 1968 Barbarella, 1966 The Giancarlo Cobelli Game Is Over, 1964 Circle of Love, 1963 Vice and Virtue, 1962 Serge Marquand ... Captain Sun Love on a Pillow, 1961 Please, Not Now!, 1960 Blood and Nino Musco Roses, 1959 Les liaisons dangereuses, 1958 The Night Heaven Franco Gulà Fell, 1957 No Sun in Venice, and 1956 ...And God Created Catherine Chevallier ... Stomoxys Woman. Marie Therese Chevallier ... Glossina Umberto Di Grazia Terry Southern (writer, screenplay) (b. May 1, 1924 in David Hemmings ... Dildano Alvarado, Texas—d. October 29, 1995 (age 71) in New York Ugo Tognazzi ... Mark Hand City, New York) wrote 18 films and television shows, which are Vita Borg ... La magicienne 2007 Terry Southern's Plums and Prunes, 2004 Heavy Put-Away, Chantal Cachin ... La révolutionnaire 1998 Terry Southern Interviews a Faggot Male Nurse, 1988 The Fabienne Fabre ..
    [Show full text]
  • Gazette N°13 2017 V2
    2017 Gazette Numéro 13 Femme sur un ponton au bord de l’eau Gustave Maincent [1848-1897 ] Au musée Fournaise 6 janvier au 1er avril 2018 Les AMF ont accueilli au Plein Air Hameau Fournaise mille La collection du musée deux cents membres venant Donations des de différents clubs de seniors, Amis de la Maison Fournaise répartis sur onze après-midi, de fin juin à début août 2017. 5 mai au 4 novembre 2018 L’histoire de la Maison L'Enfant vu par les peintres Fournaise, lieu de rencontre au 19e siècle, "L'Âge de raison" des peintres impressionnistes, Tous les mouvements artistiques des écrivains, des personnalités confondus, tendent à la recherche du de la politique et de la finance naturel pour observer les vies d’enfants. à la fin du XIXe siècle, leur a été contée à l’aide de supports Les gestes sont précis, les regards sont photographiques représentant des tableaux et documents anciens, justes. Il semble qu'aucune époque n’ait rappelant la facilité de se rendre de Paris à Chatou par le chemin de consacrée autant d’œuvres sur l’enfant, ni fer ce qui contribua à l’essor du canotage. une iconographie aussi variée au regard des Ces rencontres ont eu lieu à l’initiative de siècles précédents. l’Institut des Hauts-de-Seine dans le cadre d’une opération spécifique « guinguettes - sourire En couverture d’été pour les seniors » ; elles se sont poursuivies par des danses au Femme sur un ponton au bord de l’eau restaurant des Rives de la Courtille dans une ambiance animée et de Gustave Maincent Coll.
    [Show full text]