DOCSLIB.ORG

Recovering Titian: the Cleaning and Restoration of Three Overlooked Canvas Paintings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Recovering Titian: the Cleaning and Restoration of Three Overlooked Canvas Paintings National Gallery Technical Bulletin volume 34 Titian’s Painting Technique before 1540 National Gallery Company London Distributed by Yale University Press NATIONAL GALLERY TECHNICAL BULLETIN VOLUME 32 | 1 This edition of the Technical Bulletin has been supported Photographic credits All photographs reproduced in this Bulletin are © The National by the American Friends of the National Gallery, London Gallery, London unless credited otherwise below. with a generous donation from Mrs Charles Wrightsman ANTWERP Koninklijk Museum voor Schone Kunsten, AntwerP, Belgium © Lukas – Art in Flanders VZW/Photo: Hugo Maertens/The Bridgeman Art Library: fig. 27, P. 16. Photo: © The National Gallery, London, Courtesy of the Owner: fig. 26, P. 16. BERGAMO Comune di Bergamo - Accademia Carrara: fig. 9, P. 9. EDINBURGH © National Galleries of Scotland: fig. 158, P. 82. Photo: © The Series editor: Ashok Roy National Gallery, London, Courtesy of the Owner: fig. 157, P. 82. FRANKFURT © National Gallery Company Limited 2013 Städel Museum, Frankfurt am Main, Graphische Sammlung All rights reserved. No part of this publication may be transmitted © U. Edelmann - Städel Museum – ARTOTHEK: figs 33, 34, P. 19. in any form or by any means, electronic or mechanical, including photocopy, recording, or any storage and retrieval system, without GLASGOW prior permission in writing from the publisher. Glasgow Museums © CSG CIC Glasgow Museums Collection: figs 68, 70, P. 39; figs 71, 72, P. 40; figs 73, 74, P. 41; fig. 82, P. 43. Photo: Articles published online on the National Gallery website © The National Gallery, London, Courtesy of the Owner: fig. 43, may be downloaded for private study only. P. 24; fig. 69, P. 39; figs 75, 76, P. 41; figs 77, 78, 79, P. 42; figs 80, 81, P. 43. First published in Great Britain in 2013 by KINGSTON LACY National Gallery Company Limited The Bankes Collection, Kingston Lacy © National Trust Photographic St Vincent House, 30 Orange Street Library/Derrick E. Witty/The Bridgeman Art Library: fig. 16, P. 12. London WC2H 7HH OXFORD www.nationalgallery.co.uk Ashmolean Museum, University of Oxford. Photo: © The National Gallery, London, Courtesy of the Owner: fig. 32, P. 18; figs 37, 38, British Library Cataloguing-in-Publication Data. P. 20; fig. 191, P. 100; fig. 192, P. 101; figs 193, 194, 195, P. 102; A catalogue record is available from the British Library. figs 196, 197, 198; 199, P. 103; figs 200, 201, 202, 203, 204; P. 104; figs 205, 206, 207, 208, P. 105; fig. 211, P. 107; figs 229, 230, 231, ISBN: 978 1 85709 552 4 P. 117; figs 232, 233, 234, P. 118; figs 235, 236, 237, 238, 239, ISSN: 0140 7430 P. 119; figs 240, 241, P. 120; fig. 243, P. 121. 1035936 PADUA Publisher: Jan Green Museo Civico, Padua © 2013. Photo Scala, Florence: fig. 2, P. 6. Project Manager: Claire Young Scuola del Santo, Padua © 2013. Photo Scala, Florence: fig. 1, P. 6. Editor: Lise Connellan Design: Libanus Press PRAGUE Picture Research: Rosalind McKever National Gallery, Prague © 2013. DeAgostini Picture Library/Scala, Florence: fig. 8, P. 9. Production: Jane Hyne and Penny Le Tissier Repro by Alta Image PRIVATE COLLECTION Printed in the United Kingdom by Butler, Tanner and Dennis Courtesy of Bonhams: fig. 234, P. 118. ST PETERSBURG © The State Hermitage Museum: fig. 51, P. 32. © The State Hermitage Museum/Vladimir Terebenin: fig. 52, P. 33; fig. 53, P. 34; fig. 57, P. 35; fig. 67, P. 37. Photo: © The National Gallery, London, Courtesy of the Owner: figs 54, 55, 56, P. 34; figs 58, 59, P. 35; figs 60, 61, 62, 63, 64, P. 36; figs 65, 66, P. 37. VENICE FRONT COVER Gallerie dell’Accademia, Venice © Courtesy of the Ministero per i Beni Titian, Bacchus and Ariadne (NG 35), 1520–3 (detail). e le Attività Culturali, Soprintendenza Speciale per il Polo Museale Veneziano: figs 41, 42, P. 23. Photo: © The National Gallery, London, TITLE PAGE Courtesy of the Owner: fig. 29, P. 17. TOP LEFT: Titian, The Holy Family with a Shepherd (NG 4), c.1510 WARMINSTER (detail). Reproduced by permission of the Marquess of Bath, Longleat House, TOP RIGHT: Titian, The Music Lesson (NG 3), c.1535 (detail). Warminster, Wiltshire, Great Britain: fig. 83, P. 44; fig. 84, P. 45. BOTTOM LEFT: Titian, Portrait of Gerolamo (?) Barbarigo (‘The Man with a Quilted Sleeve’) (NG 1944), c.1510 (detail). WASHINGTON DC BOTTOM RIGHT:Titian, ‘The Aldobrandini Madonna’ (NG 635), National Gallery of Art, Washington DC. Photo: © The National c.1532 (detail). Gallery, London, Courtesy of the Owner: fig. 24, P. 14. 2 | NATIONAL GALLERY TECHNICAL BULLETIN VOLUME 32 Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings jill dunkerton Three of the works included in this study of Titian’s thought that Titian’s inventions would be sufficiently painting technique in the first thirty to forty years of robust to survive being veiled with old varnish, dirt and his career, the Portrait of Girolamo Fracastoro, The Music repaint, yet he is also a painter of great subtlety and Lesson and The Triumph of Love (FIGS 209–11), are little even delicacy. His intentions are easily disrupted by known and have been largely ignored in the twentieth- alterations to the format of his works, as had occurred century art-historical literature on Titian. Only The in all three instances. His rich colours and descriptions Triumph of Love was included in Harold Wethey’s of texture are lost under the discoloration of old varnish, standard English language monograph on the artist, and, above all, the opacity of badly degraded varnishes for example, and then as ‘Venetian School, c.1560’.1 can destroy any sense of volume or spatial relationship The other two have been variously attributed since they in a composition. arrived at the National Gallery, most recently as ‘After Reconstruction of the conservation histories of the Titian’ and ‘Imitator of Titian’ respectively,2 their only three canvases has been important for understanding supporter as works by Titian being Wilhelm Suida in how they came to be in such an altered condition. This 1933 and 1935.3 in turn goes some way to explaining why they were The common factor in their obscurity was the generally overlooked as possible works by Titian. Tech- deterioration of their appearance as a result of heavily niques such as X-radiography and infrared reflectogra- discoloured and degraded old restorations. It might be phy have played a significant role in their rehabilitation, as has the analysis and examination of paint samples. In addition, these methods of scientific examination have informed the cleaning and treatment that has led to the retrieval of some of the original quality of the three paintings, although inevitably they remain com- promised to varying degrees by the consequences of previous interventions. Portrait of Girolamo Fracastoro The Portrait of Girolamo Fracastoro entered the National Gallery collection in 1924 with the bequest of Ludwig Mond, who had acquired it, as a Titian, in London in 1895. It received little attention, in part perhaps because of its condition, but principally because J.-P. Richter, who advised Mond on his collection, had decided by 1910 that it was by the Veronese painter Francesco Tor- bido, who, according to Vasari, had painted a portrait of the sitter – Vasari also records that he was painted by Titian. Richter later changed his attribution to that of a copy after Titian, which, with the exception of Gronau in 1926 and Suida in 1933, is more or less how it remained FIG. 209 NG 3949, Portrait of Girolamo Fracastoro (CAT . 9), before cleaning. until a recent revival of interest in the portrait.4 106 | NATIONAL GALLERY TECHNICAL BULLETIN VOLUME 34 106-121 TB34 Recovering OUTPUT.indd 106 29/08/2013 21:41 Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings FIG. 210 NG 3, The Music Lesson (CAT . 12), before cleaning. FIG. 211 The Triumph of Love (CAT . 13), before cleaning. NATIONAL GALLERY TECHNICAL BULLETIN VOLUME 34 | 107 106-121 TB34 Recovering OUTPUT.indd 107 29/08/2013 21:41 Jill Dunkerton FIG. 212 NG 3949, detail of the printed Italian text used to secure FIG. 213 NG 3949, detail of the lower left edge showing original one of the stretcher keys. paint on the tacking margin. FIG. 214 NG 3949, X-radiograph, before cleaning and relining. FIG. 215 NG 3949, detail during removal of varnish and overpaint. When the painting arrived at the National Gallery it that the lining at least must have been carried out before was described as being in a ‘fair’ state, and ‘considerably the painting left Italy. The most likely candidate for its rubbed in the paint’. It received no treatment other than last restorer is Girolamo Romano, the ‘bravo professore’, being ‘surface polished’ in 1925 and 1937, probably in who according to a guide book to Brescia of 1826, had an attempt to revive an already blanched and deterio- restored the greater part of the Lechi collection. He rated varnish. The most likely occasion for its last full was noted as ‘eccellente nell’arte sua’.5 It must have cleaning and restoration is when it was in the Brescian been at around this date that a paper label identifying collection of Conte Teodoro Lechi, from where it was the sitter as ‘Dottore Fracastoro’ was pasted to the front sold in 1854. It is recorded in the catalogues of the of the canvas in the lower left corner (only a fragment Lechi collection in 1824, 1837 and 1852, always as the had survived by this century). portrait of the ‘celebre Fracastoro’ by Titian. The charac- If the varnishes and old restoration dated back to ter of the lining canvas, and the presence of export seals the early nineteenth century this would explain their on its reverse, together with the use of scraps of paper degraded state.
Load more

Recommended publications
  • The Masterpieces of Titian; Sixty Reproductions of Photographs From
    COWANS S ART BOOKS 6*mT THE MASTERPIECES O T0 LONDON O GLASGOW, GOWANS & QRAY, L m From the Library of Frank Simpson « Telegraphic Address Telephone No. ** GALERADA, 1117, LONDON.” MAYFAIR. CLAUDE & TREVELYAN, THE CARLTON GALLERY, PALL MALL PLACE, LONDON, S,W* PURCHASERS AND SELLERS OF FINE PICTURES BY THE BEST OLD MASTERS. Messrs. CLAUDE & TREVELYAN also invite the attention of anyone desiring Portraits painted in Pastel, to the works of Mr. E. F. Wells, the clever painter of Portraits in Pastel. Attention is also directed to the work of Mr. Hubert Coop and Mr. Gregory Robinson, exceptionally clevet painters of Marine and Landscape Pictures in Oil and Water Colour, and to the exceedingly fine Portraits of Horses by Mr. Lynwood Palmer. Pictures and Engravings Cleaned and Restored. Valuations made for Probate or otherwise. Collections Classified and Arranged, CREAT CONTINENTAL SUCCESSES No. 1 KARL . HEINRICH The Original of the Play OLD HEIDELBERG Which has been acted with such very great success by Mr. George Alexander. By W. MEYER-FORSTER. WITH 12 ILLUSTRATIONS. THE ONLY TRANSLATION. Cloth, 3/6 Net. GOWANS & GRAY, Ltd., London and Glasgow. m Is Its* mmt ksfamssSteg Sites is lU^ws&shsr® t® *M mfe» ®»fe to Bwy ©r S^J Q0IUIKE ANTIQUES. FREE TO CONNOISSEURS «y hxssiRATEfi Catalogue Goods Purchased mmen Returnable if Disapproved* Sm&M Items seal oe appro, to satisfactory applicants. S©S Ev®r-clsaftg1f!g Pieees of ©Id gteina, &sd P&ttmy siwaye an feanS, The , . Connoisseur tre&fM ®n elf euBl«efs (ntensfing fo Coffttefor® mb persont #f culture. HE articles are written fey T acknowledged experts, and are illustrated fey unique photographs mtd drawings of ha* portaat examples a»d collections fro® every part of the world.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Titian and Veronese Two Venetian Painters
    Titian and Veronese Two Venetian Painters Titian Veronese Garry Law Sack of Rome 1527 – end of the Renaissance in Rome Timeline and Contemporaries / Predecessors Titian - ~1488-1576 • Born Tiziano Vecellio in Pieve di Cadrone – Small fortified town dating back to the Iron Age. • Father a soldier / local councilor / supplier of timber to Venice • Named after a local saint Titianus • Went to Venice aged 9, apprenticed to Zuccato then Gentile Bellini then Giovani Bellini • Partnership with Giorgione – shared workshop – ended with G’s early death • Together redefined Venetian painting • Their work so similar have long been disputes over authorship of some paintings They did undertake some joint works – frescoes Titian was asked to complete some unfinished works after Giorgione’s death – only one such is known for sure – otherwise we don’t know if he did finish others. The Pastoral Concert - Once considered Giorgione – now considered Titian – though some have considered as by both (Louvre). • Portraits - Royal and Papal commissions late in career • Cabinet Pictures • Religious art • Allegorical / Classical Isabella d’Este “La Bella” • Lead the movement to having large pictures for architectural locations on canvas rather than Fresco – which lasted poorly in Venice’s damp climate • Sought to displace his teacher Bellini as official state painter – declined, but achieved on B’s death. • Married housekeeper by whom he already has two children • Wife dies young in childbirth – a daughter modelled for him for his group pictures • Does not remarry – described as flirting with women but not interested in relationships • Ran a large studio – El Greco was one pupil • Of his most successful pictures many copies were made in the studio Penitent Mary Madelene Two of many versions Christ Carrying the Cross.
    [Show full text]
  • Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
    ! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists.
    [Show full text]
  • The Diary of Heinrich Witt
    The Diary of Heinrich Witt Volume 2 Edited by Ulrich Mücke LEIDEN | BOSTON Ulrich Muecke - 9789004307247 Downloaded from Brill.com10/10/2021 09:30:38PM via free access [1] [2] Volume the second Commenced in Lima October the 9th 1867 Tuesday, 24th of January 1843. At 10 Oclock a.m. I started for Mr. Schutte’s silver mine of Orcopampa, my party was rather numerous; it consisted of course of myself on mule back with a led beast for change, the muleteer Delgado, his lad Mateo, both mounted, an Indian guide on foot named Condor, and seven mules laden with various articles for the mine as well as some provisions for myself, two or three fowls, half a sheep, potatoes, bread, salt, and sugar, also some sperm candles, and a metal candlestick. The mules carried each a load from eight to nine arrobes, besides four arrobes the weight of the gear and trappings. I may as well say en passant that I carried the above various articles of food because I had been assured that on this route I should find few eatables. I, accustomed to the ways and habits of the Sierra, saw nothing particular in the costume of my companion, nevertheless I will describe it, the muleteers wore ordinary woollen trowsers, and jackets, a woollen poncho over the shoulders, Chilian boots to the legs, shoes to their feet, but with only a single spur, on the principle that if one side of the animal moved the other could not be left behind; their head covering was a Guayaquil straw hat, underneath it Delgado wore a woollen cap, also round his neck a piece [_] jerga, for the purpose of blind folding his beasts when loading [_] a second piece round his waist the two ends of which [_] [3] and preserved his trowsers.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6’ x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library.
    [Show full text]
  • Titian. Masterpieces in Colour, by S. L. Bensusan. a Project Gutenberg
    MASTERPIECES I N C O L O U R E D I T E D B Y - - T. LEMAN HARE TITIAN 1477 (?)–1576 "Masterpieces in Colour" Series ARTIST. AUTHOR. VELAZQUEZ. S. L. BENSUSAN. REYNOLDS. S. L. BENSUSAN. TURNER. C. LEWIS HIND. ROMNEY. C. LEWIS HIND. GREUZE. ALYS EYRE MACKLIN. BOTTICELLI. HENRY B. BINNS. ROSSETTI. LUCIEN PISSARRO. BELLINI. GEORGE HAY. FRA ANGELICO. JAMES MASON. REMBRANDT. JOSEF ISRAELS. LEIGHTON. A. LYS BALDRY. RAPHAEL. PAUL G. KONODY. HOLMAN HUNT. MARY E. COLERIDGE. ARTIST. AUTHOR. TITIAN. S. L. BENSUSAN. MILLAIS. A. LYS BALDRY. CARLO DOLCI. GEORGE HAY. GAINSBOROUGH. MAX ROTHSCHILD. TINTORETTO. S. L. BENSUSAN. LUINI. JAMES MASON. FRANZ HALS. EDGCUMBE STALEY. VAN DYCK. PERCY M. TURNER. LEONARDO DA VINCI. M. W. BROCKWELL. RUBENS. S. L. BENSUSAN. WHISTLER. T. MARTIN WOOD. HOLBEIN. S. L. BENSUSAN. BURNE-JONES. A. LYS BALDRY. VIGÉE LE BRUN. C. HALDANE MACFALL. ARTIST. AUTHOR. CHARDIN. PAUL G. KONODY. FRAGONARD. C. HALDANE MACFALL. MEMLINC. W. H. J. & J. C. WEALE. CONSTABLE. C. LEWIS HIND. RAEBURN. JAMES L. CAW. JOHN S. SARGENT. T. MARTIN WOOD. LAWRENCE. S. L. BENSUSAN. DÜRER. H. E. A. FURST. MILLET. PERCY M. TURNER. WATTEAU. C. LEWIS HIND. HOGARTH. C. LEWIS HIND. MURILLO. S. L. BENSUSAN. WATTS. W. LOFTUS HARE. INGRES. A. J. FINBERG. Others in Preparation. PLATE I.—THE DUCHESS OF URBINO. Frontispiece (In the Uffizi Gallery, Florence) This portrait of the Duchess of Urbino from the Uffizi must not be confused with the portrait of the Duchess in the Pitti Palace. The sitter here is Eleonora Gonzaga, Duchess of Urbino, and the portrait was painted somewhere between the years 1536 and 1538 at a period when the master's art had ripened almost to the point of its highest achievement.
    [Show full text]
  • Bernini and Other Studies in the History Of
    Ki CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE FINE ARTS DATE DUE Cornell University Library N "l^r-7H| \<^ 7445.N88 Bernini and other studies in ttie history 4891- 3 1924 020 704 122 'gi-^^^a Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020704122 BERNINI AND OTHER STUDIES THE MACMILLAN COMPANY NEW YORK • BOSTON - CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO V' ,/<? «^ !A8i Plate I. BERNINI AND OTHER STUDIES IN THE HISTORY OF ART BY RICHARD NORTON MUSEUM OF FINE ARTS, BOSTON THE MACMILLAN COMPANY LONDON: MACMILLAN AND COMPANY 1914 All rights reserved s H Hit rf4 -a^ COPTBIGHT, 1914, By the MACMILLAN COMPANY. Set up and electrotyped. Published October, 1914. Norinodli ^teiss J, S. Onshing Go. — Berwick & Smith Go. Norwood, Mass., U.S.A. PREFACE The essays presented in the following pages are the prod- uct of no hasty thought. I am grateful to the kind friends who have encouraged their publication, and to the publishers for giving them so attractive a form. The choice of illustrations has been difficult. It has seemed best, however, to reproduce in full the little-known sketches of Bernini showing the development, in his mind, of the design for the Piazza of St. Peter's, and the sculptor's models wrought by his own hands.
    [Show full text]
  • The Fifteenth-Anniversary Season: the Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, itness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE 4290 Bistro features creative dishes from our Executive Chef and Culinary Team. Our food is a fusion of Asian Flavors using French techniques while sourcing local ingredients. TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo The Glorious Violin the fifteenth-anniversary season July 14–August 5, 2017 DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 The Glorious Violin Program Overview 6 Essay: “Violinists: Old Time vs. Modern” by Henry Roth 10 Encounters I–V 13 Concert Programs I–VII Léon-Ernest Drivier (1878–1951). La joie de vivre, 1937. Trocadero, Paris, France. Photo credit: Archive 41 Carte Blanche Concerts I–V Timothy McCarthy/Art Resource, NY 60 Chamber Music Institute 62 Prelude Performances 69 Koret Young Performers Concerts 72 Master Classes 73 Café Conversations 74 The Visual Arts at Music@Menlo 75 Music@Menlo LIVE 76 2017–2018 Winter Series 78 Artist and Faculty Biographies 90 Internship Program 92 Glossary 96 Join Music@Menlo 98 Acknowledgments 103 Ticket and Performance Information 105 Map and Directions 106 Calendar www.musicatmenlo.org 1 2017 Season Dedication Music@Menlo’s ifteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]
  • Download Article
    This edition of the Technical Bulletin has been supported National Gallery Technical Bulletin by Mrs Charles Wrightsman volume 36 Titian’s Painting Technique from 1540 Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2015 All images © The National Gallery, London, unless credited All rights reserved. No part of this publication may be transmitted otherwise below. in any form or by any means, electronic or mechanical, including CAMBRIDGE photocopy, recording, or any storage and retrieval system, without © Fitzwilliam Museum, Cambridge: 51, 52. prior permission in writing from the publisher. CINCINNATI, OHIO Articles published online on the National Gallery website © Cincinnati Art Museum, Ohio / Bridgeman Images: 3, 10. may be downloaded for private study only. DRESDEN Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden First published in Great Britain in 2015 by © Photo Scala, Florence/bpk, Bildagnetur für Kunst, Kultur und National Gallery Company Limited Geschichte, Berlin: 16, 17. St Vincent House, 30 Orange Street London WC2H 7HH EDINBURGH Scottish National Gallery © National Galleries of Scotland, photography by John McKenzie: 250–5. www.nationalgallery.co.uk FLORENCE British Library Cataloguing-in-Publication Data. Gabinetto dei Disegni e delle Stampe, Galleria degli uffizi, Florence A catalogue record is available from the British Library. © Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali: 12. ISBN: 978 1 85709 593 7 Galleria Palatina, Palazzo Pitti, Florence © Photo Scala, ISSN: 0140 7430 Florence – courtesy of the Ministero Beni e Att. Culturali: 45. 1040521 LONDON Apsley House © Stratfield Saye Preservation Trust: 107. Publisher: Jan Green Project Manager: Claire Young © The Trustees of The British Museum: 98.
    [Show full text]
  • Apt Appropriation: Contemporary African Artists'utilization of Canonical Western
    APT APPROPRIATION: CONTEMPORARY AFRICAN ARTISTS’ UTILIZATION OF CANONICAL WESTERN ART By MACKENZIE MOON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2008 MacKenzie Moon 2 To my cheerleaders 3 ACKNOWLEDGMENTS My gratitude goes first to my advisor and mentor Dr. Victoria L. Rovine. She has guided this endeavor and seen it through to fruition. I would like to thank Drs. Robin Poynor, Alexander Alberro, Eric Segal, Melissa Hyde, Shepherd Steiner, Susan Cooksey and Leonardo Lasansky for their support in my personal development as a scholar. I am also grateful to my Gainesville friends who made this process more than merely enjoyable. My family has been unwavering in their support, and for that, I am ever humbled. An especial note of thanks goes to Wim Botha, Ziemek Pater, Carlo Gibson, and Yinka Shonibare, MBE, who graciously answered my sometimes tedious queries. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 CHAPTER 1 INTRODUCTION ....................................................................................................................9 The Challenges of Working with Lesser-Known Artists .......................................................11 Predominance
    [Show full text]
  • A Description of the Sketch-Book by Sir Anthony Van Dyck, Used By
    Digitized by the Internet Archive in 2015 https://archive.org/details/descriptionofskeOOcust A Description of the Sketch-book by Sir Anthony Van Dyck Used by him in Italy 1621-1627 A Description of the Sketch-book by Sir Anthony Van Dyck Used by him in Italy, 1621-1627 And preserved in the Collection of the Duke of Devonshire, K.G. * at Chatsworth By Lionel Cust, m.v.o., f.s.a. Director of the National Portrait Gallery, Surveyor of the King’s Pictures and Works of Art, Chevalier of the Order of Leopold, etc. London George Bell and Sons 1902 CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. A Description of the Sketch-Book by Sir Anthony Van Dyck N the priceless series of original drawings and sketches by I the Old Masters, which forms part of the rich collection of works of art belonging to the Duke of Devonshire at Chatsworth there are two sketch-books, containing pen-and- ink sketches, attributed to the famous painter Sir Anthony Van Dyck. These two sketch-books are apparently almost exactly similar, so far as the form of the book is concerned, and from their juxtaposition in the collection have been assumed to be companion volumes, and both containing sketches by the same artist. As a matter of faCt, the books contain sketches by two entirely different artists, one being the work of the great and world-famous Anthony Van Dyck, the other the work of an inferior Flemish artist of a generation later, one Daniel Van den Dyck, who made his home at Venice, where he painted some fair pictures, executed some etchings in the decadent Italian style, and at the same time aCted as art-direCtor and curator at Venice and at Mantua.
    [Show full text]