Prayers and Portraits
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Plekken Van Plezier
Plekken van plezier Open Monumentendagen 14 & 15 september Haarlem - 1 Welkom in Haarlem Op de voorkant van dit programmaboekje prijkt zwembad De Houtvaart. Een prachtige plek van plezier in onze monumentenstad Haarlem. Dit jaar staat dan ook de amusementswaarde van monumenten centraal tijdens Open Monumentendagen, met als thema ‘Plekken van plezier’. Naar welke monumentale plekken gingen en gaan mensen voor hun plezier? Ik vind het belangrijk dat onze monumenten bewaard en beschermd blijven. Dat ze bezocht en bewonderd kunnen worden en dat ze ons leren wie we zijn en waar we vandaan komen. Veel vrijwilligers werken actief mee aan de organisatie en uitvoering van de Open Monumentendagen; vanaf deze plek wil ik iedereen hartelijk bedanken voor hun inzet. In dit boekje vindt u informatie over bijzondere monumenten in Haarlem die hun deuren voor u openen. Een mooie selectie van monumenten voor ontspanning, vermaak en vrije tijd. Ik wens u een plezierig weekend vol verrassende ervaringen toe! Floor Roduner, wethouder Monumenten en Erfgoed - 2 Plekken van plezier Hoe hebben mensen zich in de loop der eeuwen vermaakt en welke monumenten zijn daarvoor het decor of het podium geweest? Deze vragen zijn leidend geweest bij het samenstellen van dit programma boekje. In Haarlem zijn volop historische ‘plekken van plezier’ te vinden zoals theaters, musea, parken, markten en sportclubs. Al in de middeleeuwen zijn er plekken in Haarlem aan te wijzen die centraal staan voor vermaak. Zo had Haarlem als eerste stad ter wereld een heus sportveld, de ‘Baen’. Hier werden vanaf de 14de eeuw Oudhollandse spellen gespeeld. Een andere bekende plek van plezier is de Haarlemmerhout, een immense groene oase aan de zuidkant van de stad. -
Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Sztuki Piękne)
Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historycznodokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им. -
Reading 1.2 Caravaggio: the Construction of an Artistic Personality
READING 1.2 CARAVAGGIO: THE CONSTRUCTION OF AN ARTISTIC PERSONALITY David Carrier Source: Carrier, D., 1991. Principles of Art History Writing, University Park, Pennsylvania: Pennsylvania State University Press, pp.49–79. Copyright ª 1991 by The Pennsylvania State University. Reproduced by permission of the publisher. Compare two accounts of Caravaggio’s personality: Giovanni Bellori’s brief 1672 text and Howard Hibbard’s Caravaggio, published in 1983. Bellori says that Caravaggio, like the ancient sculptor Demetrius, cared more for naturalism than for beauty. Choosing models, not from antique sculpture, but from the passing crowds, he aspired ‘only to the glory of colour.’1 Caravaggio abandoned his early Venetian manner in favor of ‘bold shadows and a great deal of black’ because of ‘his turbulent and contentious nature.’ The artist expressed himself in his work: ‘Caravaggio’s way of working corresponded to his physiognomy and appearance. He had a dark complexion and dark eyes, black hair and eyebrows and this, of course, was reflected in his painting ‘The curse of his too naturalistic style was that ‘soon the value of the beautiful was discounted.’ Some of these claims are hard to take at face value. Surely when Caravaggio composed an altarpiece he did not just look until ‘it happened that he came upon someone in the town who pleased him,’ making ‘no effort to exercise his brain further.’ While we might think that swarthy people look brooding more easily than blonds, we are unlikely to link an artist’s complexion to his style. But if portions of Bellori’s text are alien to us, its structure is understandable. -
Technical Examination of the Emerson-White Book of Hours
Mayer et al. Herit Sci (2018) 6:48 https://doi.org/10.1186/s40494-018-0211-4 RESEARCH ARTICLE Open Access Technical examination of the Emerson‑White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript Debora D. Mayer1*, Hope Mayo2, Erin Mysak3, Theresa J. Smith4 and Katherine Eremin5 Abstract The Emerson-White Hours (MS Typ 443–443.1, Houghton Library, Harvard University) is a book of hours and missal produced in Valenciennes, Bruges, and Ghent in the late 1470s or early 1480s. There are seven full-page miniatures (many more have been removed), fourteen historiated borders, 28 historiated initials, and 24 calendar illustrations in tempera and gold. Text pages have shell gold trompe-l’oeil borders. The illuminators include Simon Marmion, the Master of the Houghton Miniatures (named for this manuscript), the Master of the Dresden Prayerbook, and one of the Ghent Associates. The goal of analysis was to determine if identifcation of palettes supported previous stylistic attributions. Focusing on the illuminations attributed to Simon Marmion and the Houghton Master, we demonstrate that technical analysis can support attribution by identifying diferences in artists’ pigment preferences, pigment blending, and technique of paint application, particularly how the artists render shadows. Keywords: Illuminated manuscript, Book of hours, Flemish, Technical study, Pigment identifcation, Artists’ technique, Simon Marmion, Houghton Master, Master of the Dresden Prayerbook, Ghent Associates, Shell brass, Harvard Introduction compline (before sleep). In addition to standard texts Te Emerson-White Hours (MS Typ 443–443.1, found in books of hours—calendar, Hours of the Virgin, Houghton Library, Harvard University) is a book of Hours of the Cross, Hours of the Holy Spirit, Sufrages hours-missal that includes a wide range of liturgical texts to the saints, Penitential psalms and litany, Ofce of the and an extensive program of illumination executed in Dead—the manuscript contains a considerable num- Bruges, Ghent, and Valenciennes ca. -
The Marian Philatelist, Whole No. 47
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 3-1-1970 The Marian Philatelist, Whole No. 47 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 47" (1970). The Marian Philatelist. 47. https://ecommons.udayton.edu/imri_marian_philatelist/47 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Pfiilatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W. J. Hoffman Editor Orange, California, 92667, U.S.A. Vol. 8 No. 2 Whole No. 47 MARCH 1, 1970 NEW ISSUES BRAZIL: (Class 1). A 10 centavos stamp iss ued for Christmas on December 8, 1969. De ANGUILLA: (Class 1). A 5-stamp Christmas sign depicts a CROWNED MADONNA AND CHILD set was issued October 27, 1969. We have bearing the title OUR LADY OF JOY. Illustra not been able to obtain the stamps, however tion with special first day cancellations the 40c value depicts a stylized MADONNA with article on page 23. AND CHILD with "Christ mas 19 69" in four lines. Independent Anguilla is not recog A sheet containing a 75 cts stamp also de nized by Scott but is listed by Michel and picts OUR LADY OF JOY; it was issued Decem Yvert. -
Sex, Lies, and Mosaics: the Zoe Panel As a Reflection of Change in Eleventh-Century Byzantium*
SEX, LIES, AND MOSAICS: THE ZOE PANEL AS A REFLECTION OF CHANGE IN ELEVENTH-CENTURY BYZANTIUM* Brian A. Pollick, University of Victoria Abstract The stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a case study about such change and how a unique set of social forces in the early eleventh century induced cultural change that resulted in new visual forms. The subject of this case study is the mosaic known as The Zoe Panel, located in the South Gallery of the Hagia Sophia in Constantinople. The panel depicts the Emperor Constantine IX presenting a bag of money to the enthroned Christ, while the Empress Zoe presents an imperial scroll probably signifying an ongoing grant. Although there has been much written about this mosaic, the fact that the moneybag and imperial scroll represent two new iconographic elements in imperial portraits has gone largely unnoticed. This study argues that the appearance of these new iconographic features is a direct reflection of the specific dynastic, economic and social circumstances in the Byzantine Empire in the early eleventh century. he stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a Tcase study about such change and examines how a unique set of political, economic and social forces in the early eleventh century induced socio-cultural change that resulted in new visual forms. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research -
Hans Memling's Scenes from the Advent and Triumph of Christ And
Volume 5, Issue 1 (Winter 2013) Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation Sally Whitman Coleman Recommended Citation: Sally Whitman Coleman, “Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation,” JHNA 5:1 (Winter 2013), DOI: 10.5092/jhna.2013.5.1.1 Available at https://jhna.org/articles/hans-memlings-scenes-from-the-advent-and-triumph-of- christ-discourse-of-revelation/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 5:1 (Winter 2013) 1 HANS MEMLING’S SCENES FROM THE ADVENT AND TRIUMPH OF CHRIST AND THE DISCOURSE OF REVELATION Sally Whitman Coleman Hans Memling’s Scenes from the Advent and Triumph of Christ (ca. 1480, Alte Pinakothek, Munich) has one of the most complex narrative structures found in painting from the fifteenth century. It is also one of the earliest panoramic landscape paintings in existence. This Simultanbild has perplexed art historians for many years. The key to understanding Memling’s narrative structure is a consideration of the audience that experienced the painting four different times over the course of a year while participating in the major Church festivals. -
1 Curriculum Vitae Prof. Dr. Ron Spronk
Curriculum Vitae Prof. dr. Ron Spronk Professor of Art History Department of Art History and Art Conservation Ontario Hall, Room 315 67 University Avenue Kingston, Ontario Canada K7L 3N6 SNS Reaal Fund Hieronymus Bosch Chair (20% FTE) Radboud University Nijmegen The Netherlands T: 613 533-6000, extension 78288 F: 613 533-6891 E: [email protected] Degrees: Ph.D., Groningen University, the Netherlands, Department of History of Art and Architecture, 2005. Doctoral Candidacy, Indiana University, Bloomington, IN, USA, Art History Department, 1994. Master’s degree equivalent (Dutch Doctoraal Diploma), Groningen University, the Netherlands, Department of History of Art and Architecture, 1993. Employment history: Since 2010: Hieronymus Bosch Chair, Radboud University, Nijmegen, the Netherlands (20% FTE). Since 2007: Professor of Art History (tenured), Department of Art, Queen’s University, Kingston, Ontario, Canada. Department Head from 2007 to 2010. 2006-2007: Research Curator, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 2005-2007: Lecturer on History of Art and Architecture, Department of History of Art and Architecture, Harvard University, Cambridge, MA, USA. 1999-2006: Associate Curator for Research, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 2004: Lecturer, Department of History of Art and Architecture, Groningen University, the Netherlands. 1997-1999: Research Associate for Technical Studies, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 1996-1997: Andrew W. Mellon Research Fellow, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. 1995-1996: Special Conservation Intern, Straus Center for Conservation and Technical Studies, Harvard University Art Museums, Cambridge MA, USA. -
Jheronimus Bosch-His Sources
In the concluding review of his 1987 monograph on Jheronimus Bosch, Roger Marijnissen wrote: ‘In essays and studies on Bosch, too little attention has been paid to the people who Jheronimus Bosch: his Patrons and actually ordered paintings from him’. 1 And in L’ABCdaire de Jérôme Bosch , a French book published in 2001, the same author warned: ‘Ignoring the original destination and function his Public of a painting, one is bound to lose the right path. The function remains a basic element, and What we know and would like to know even the starting point of all research. In Bosch’s day, it was the main reason for a painting to exist’. 2 The third International Bosch Conference focuses precisely on this aspect, as we can read from the official announcement (’s-Hertogenbosch, September 2012): ‘New information Eric De Bruyn about the patrons of Bosch is of extraordinary importance, since such data will allow for a much better understanding of the original function of these paintings’. Gathering further information about the initial reception of Bosch’s works is indeed one of the urgent desiderata of Bosch research for the years to come. The objective of this introductory paper is to offer a state of affairs (up to September 2012) concerning the research on Bosch’s patronage and on the original function of his paintings. I will focus on those things that can be considered proven facts but I will also briefly mention what seem to be the most interesting hypotheses and signal a number of desiderata for future research. -
Buildings in Their Patrons' Hands? the Multiform Function of Small Size
Transkulturelle Perspektiven 3/2014 - 1 - و Maria Cristina Carile Buildings in their patrons’ hands? The multiform function of small size models between Byzantium and Transcaucasia The representation of the church model in the hands order to understand the value of these models after of the church's patron or founder finds its roots in the the twelfth century – following the chronological frame arts of Late Antiquity. Since the sixth century, this mo- of this volume – it is important to determine their im- tif adorned church apses, as an image of offering to portance in Caucasian visual culture, first tracing the Christ or the Virgin. 1 Later, it became a strong iconic evolution of the donation image. This will help us to image conveying the role of the patron/founder in the evaluate the meaning of architectural models in the construction and his devotion, which was embodied changed historical context of the Transcaucasian in the model as well as in the building itself. As such, principalities between the late twelfth and the thir- the theme had particular fortune in medieval Rome teenth centuries, when architectural models on and spread to the East as far as the Caucasus. After church walls were enriched with new meanings. the Latin conquest of Constantinople during the fourth crusade (1204 AD), the motif was widely adopted in The first appearance of the motif in the Transcaucasi- the Balkans and in the territories in close contact with an area probably dates back to the sixth century. This Byzantium. 2 This paper will focus on church models is testified by a now-lost sculpted relief with the im- as a motif, reflecting on their spread and role in the age of a woman holding a church model, which may decoration of the external façades of the churches in have decorated the outer walls of the cathedral com- the Caucasus and, specifically, in the area of Trans- plex at Agarak (region of Ayrarat), formed by a fifth- or caucasia.