WARTS and ALL the Portrait Miniatures of Samuel Cooper (1609-1672)
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British Art Studies September 2020 Elizabethan and Jacobean
British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. -
Masters' Thesis Abstract and Table of Contents
Céline Cachaud Masters’ Thesis (2017) École Pratique des Hautes Études (Paris) Pr. Sabine Frommel (dir.) Nicholas Hilliard’s trip to France (1576-1579) and its consequences on his work A holistic approach This thesis is the result of more than two years of research. It is a two-parts research with a study of 167 pages and a comprehensive catalogue of Nicholas Hilliard’s work, the first in French, of 273 numbers. The study is currently only available in French. The study Nicholas Hilliard’s trip to France has regularly been boiled down to a no-consequence phase of his career by most of the specialists and scholars. However, sources and preserved works of art tell us another story : this period was indeed prolific and meaningful for the rest of his life. Although very few works of art are kept, circa twenty compared with the more than 200 authentic and attributed pieces, they are proofs of the plurality of his artistic production and the signs of the apex of his career thanks to the protection of the Valois court and most notably, thanks to the patronage of the French king’s brother, the duke of Alençon. Main issue Through the renewed analysis of the available and discovered archival and iconographical sources, this thesis had for main issue to discuss the consequences of Hilliard’s stay in France and the importance of it. To a lesser extent, it also questions Hilliard’s part in the renewal of portrait miniatures production in France in the late sixteenth century. ABSTRACT AND CONTENTS !1 Method : Our intentional holistic approach aimed at analyzing Hilliard’s trip to Paris in a global way, questioning on both Hilliard’s artistic career and human path into French society. -
Eighth Annual Exhibition of Miniatures Catalogue
EIGHTH ANNUAL EXHIBITION OF MINIATURES CATALOGUE THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MDCCCCIX THE PENNSYL VANIA ACADEMY OF THE FINE ARTS FOUNDED 1805 THE PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS CATALOGUE OF THE EIGHTH ANNUAL EXHIBITION OF MINIATURES, NOVEMBER 8 TO DECEMBER 19, 1909 PHILADELPHIA MCMIX MANAGEMENT OF THE PENNSYL VANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS. VICE· PRESIDENT I CLEMENT B. NEWBOLD. HONORARY VICE-PRESIDENTS, JOH N H. CONVERSE, E. BURGESS WARREN. DIRECTORS, THEOPHILUS P. CHANDLER, ALFRED C . HARRISON, HERBERT M. HOWE, M.D., CLARENCE C. ZANTZINGER, GEORGE H. McFADDEN, GEORGE D. WIDENER, CLEMENT B. NEWBOLD, T. DE 'WITT CUYLER, EDWARD T. STOTESBURY, ARTHUR H. LEA, THEODORE N. ELY, CHARLEMAGNE TOWER, FRANK H. CAVEN. TREASURER, ~ GEORGE H. McFADDEN. SECRETARY AND MANAGER, JOHN E. D. TRASK. ASSISTANT TO SECRETARY AND TREASURER, HARRY P. RHOADS. CURATOR OF SCHOOLS, CHARLES F. RAMSEY. SOLICITOR, JOHN G, JOHNSON. COMMITTEE ON EXHIBITIONS, CLEMENT B. NEWBOLD, CHAIRMAN, GEORGE H. McFADDEN, ALFRED C. HARRISON, EDWARD T. STOTESBURY, THEODORE N. ELY, CHARLEMAGNE TOWER. 2 @ff(cers ant> members of tl)e lDennsog{\?anta Soctet\? of miniature lDainters PRESIDENT EMILY DRAYTON TAYLOR VICE· PRESIDENT LUDWIG E. FABER SECRETARY A. MARGARETTA ARCHA~IBAULT TREASURER SARAH YOCUM McFADDEN EXECUTIVE COMMITTEE ELLEN WETHERALD AHRENS AMY OTIS REBECCA PEALE PATTERSON MEMBERS ELLEN WETHERALD AHRENS REBECCA BURD PEALE PATTERSON A. MARGARETTA ARCHAMBAULT EVELYN PURDIE ALICE BECKINGTON EDNA F. HUESTIS SIMPSON ELLA SHEPARD BUSH Lucy MAY STANTON SALLY CROSS MARIA JUDSON STREAN HERMAN DEIGENDESCH MARY H. TANNAHILL EULABEE DIX EMILY DRAYTON TAYLOR LUDWIG E. FABER HELEN M. TURNER JEAN WILLIAMS LUCAS MABEL R. -
Art Bulletin of Nationalmuseum Stockholm Volume 26:1
The Danish Golden Age – an Acquisitions Project That Became an Exhibition Magnus Olausson Director of Collections Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum, Stockholm, © Copyright Musei di Strada Nuova, Genova Martin van Meytens’s Portrait of Johann is published with generous support from the (Fig. 4, p. 17) Michael von Grosser: The Business of Nobility Friends of the Nationalmuseum. © National Gallery of Art, Washington D.C. Open © Österreichisches Staatsarchiv 2020 (Fig. 2, Access image download (Fig. 5, p. 17) p. 92) Nationalmuseum collaborates with Svenska Henri Toutin’s Portrait of Anne of Austria. A © Robert Wellington, Canberra (Fig. 5, p. 95) Dagbladet, Bank of America Merrill Lynch, New Acquisition from the Infancy of Enamel © Wien Museum, Vienna, Peter Kainz (Fig. 7, Grand Hôtel Stockholm, The Wineagency and the Portraiture p. 97) Friends of the Nationalmuseum. © Rijksmuseum, Amsterdam/Public Domain (Fig. 2, p. 20) Graphic Design Cover Illustration © Christies, 2018 (Fig. 3, p. 20) BIGG Daniel Seghers (1590–1661) and Erasmus © The Royal Armoury, Helena Bonnevier/ Quellinus the Younger (1607–1678), Flower CC-BY-SA (Fig. 5, p. 21) Layout Garland with the Standing Virgin and Child, c. Four 18th-Century French Draughtsmen Agneta Bervokk 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: © The Metropolitan Museum of Art, New York, Wiros Fund. Nationalmuseum, NM 7505. NY/Public Domain (Fig. 7, p. 35) Translation and Language Editing François-André Vincent and Johan Tobias Clare Barnes and Martin Naylor Publisher Sergel. On a New Acquisition – Alcibiades Being Susanna Pettersson, Director General. Taught by Socrates, 1777 Publishing © The Metropolitan Museum of Art, New York, Ludvig Florén, Magnus Olausson, and Martin Editors NY/Public Domain (Fig. -
1 the Early Royal Society and Visual Culture Sachiko Kusukawa1 Trinity
The Early Royal Society and Visual Culture Sachiko Kusukawa1 Trinity College, Cambridge [Abstract] Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artefacts –manufactured objects worth commissioning, collecting and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades”. Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records. Introduction In the Royal Society Library there is a manuscript (MS/136) entitled “Miniatura or the Art of Lymning” 2 by Edward Norgate (1581-1650), who was keeper of the King’s musical instruments, Windsor Herald, and an art agent for “the collector Earl”, Thomas Howard, Earl of Arundel (1586-1646) (Norgate 1997, pp. 1-9). Two versions exist of Norgate’s “Miniatura”, the first of which was 1 written for his friend, Sir Theodore Turquet de Mayerne (1573-1655), and a second, expanded treatise was dedicated to his patron’s son, Henry Frederick Howard, the third Earl of Arundel (1608-1652), also an art connoisseur. -
An Exhibition of Miniatures by Celebrated Masters of the 16Th, 17Th
e ,._ r ,31 ' la y a. .rt .*-=;: r Y, }F 'r' zs. :T". , T y a '. .. 4 e. .. ' Yd t"S :l^ .°kw't'' ti , y . _.. ' _'Q' it".', ,.k u .. '. :. ',. ''°4, .. E ..:&. .: w.....a w.w."_ ..:isriw r.:: w::i .;..... :.:e+ .' : =:v.. :"ss - AIC .cell x" fi" ii. .e . g'ay', s' " ,," s ' i ' ' i '' ,w~"Y" l .j,' JiE"rI.J'Y3tl w 3t Y3F x ±%S Y ' L d xk4,". , . ; is _~t "*Fb V ' ' A"." . F LYE': %^ .':+ : 3 r S'n " s . y gg " I'P s { &i .: :L", ? f ,l''. ;:;, .:& 4rrri.1} , f X 3. ': r', . " ; . ax' I ', :'"Y; ' Nx r 1s> : ;:. F .. hWrM': wi K ?ny a ' NS'VI qu4xbib tiou of %Ilin liaturr 4letbrattb ~atr% onf the I ft, 17to ab 18th Qetr r M. KNOEDLER & CO. 355 FIFTH AVE. NEW YORK 1906 GOERCK ART PRESS SEVENTH AVE. AT FIFTY-THIRD ST. N EW YO0R K ntrobuction The well-known English writer, J. J. Foster, in his comprehensive work entitled, "British Miniature Paint- ers and Their Works," gives a most interesting account of the history and periods of this delightful branch of art. He says in part in his introductory chapter: "Viewed from the artistic standpoint, fine miniatures possess technical features of delicacy and of beauty peculiar to themselves; whilst, as historical illustrations, genuine portraits lend, it must be owned, a living inter- est to our annals still greater than they already pos- sess. 'We see the faithful effigies of those who have played extraordinary parts and proved themselves se- lect men amongst men; we read their countenances, we trace their characters and conduct in the unreal images, and then, as if made free of their company, follow on with redoubled animation the events in which they lived and moved and had their being.' Hence authentic portraits are things of real and deep importance to students of Art, of History, of Literature, of Cus- tume, and I know not what other branches of that most fascinating study-the Past. -
Portrait Miniatures in the New Republic
he stunning events of July 1804 were almost unfath- omable for the citizens of the new American republic. One Founding Father had fatally wounded another. TAlexander Hamilton was dead and Aaron Burr would be indicted for murder. The duel and its aftermath marked a turning point in American culture. Five days before the Burr-Hamilton duel, Edward Greene Malbone arrived for a week’s stay in New York. Considered the Portrait finest miniaturist in the United States, Malbone was attractive, popular, already exceedingly successful, and only twenty-six miniatures years old. As Hamilton’s massive funeral snaked up Broadway on July 14, he was meeting twenty-five year-old Anson Dick- Left to right, from facing page, bottom: in the New inson for the first time. A fledgling artist, Dickinson had com- Fig. 1. Anson Dickinson [1779– missioned Malbone to paint his miniature, hoping to learn by 1852] by Edward Greene Malbone Republic (1777–1807), 1804. Watercolor on 1 watching the more experienced artist at work (Fig. 1). So ab- ivory, 2 ½ by 1 7⁄8 inches. Stamford sorbed was Malbone in the painting “that he neither paused Historical Society, Connecticut, 2 Cruikshank Bequest. himself to view the pageant nor suffered his sitter to do so.” Fig 2. John Francis [1763–1796] by Around the corner on Wall Street, twenty-five-year-old Malbone, 1795. Signed and dated Joseph Wood and twenty-three-year-old John Wesley Jarvis had “Malbone 1795” at center right. recently formed an artistic partnership. All four artists, soon to Watercolor on ivory, 2 13⁄16 by 2 1⁄8 inches. -
The Portrait Miniature Revival, 1890-1930
DISMISSED YET DISARMING: THE PORTRAIT MINIATURE REVIVAL, 1890-1930 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment Of the requirements for the degree Master of Fine Arts Maryann Sudnick Gunderson November 2003 This thesis entitled DISMISSED YET DISARMING: THE 20TH CENTURY PORTRAIT MINIATURE REVIVAL BY MARYANN SUDNICK GUNDERSON Has been approved for the School of Art and the College of Fine Arts Jody Lamb Associate Professor of Art History Raymond Tymas-Jones Dean, College of Fine Arts GUNDERSON, MARYANN S. MFA. November 2003. Art History Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930 (112pp.) Director of Thesis: Jody Lamb The portrait miniature revival is examined regarding contemporary influences and artists, during the period c. 1890-1930. Modern influences, including the philosophies of Arts and Crafts and Art Nouveau, are defined in context of the miniature. The fine arts of John Singer Sargent’s portraiture, as well as the abstraction and color of Mary Cassatt and Edgar Degas, are revealed as instrumental in altering the style of the revival miniature. Photography is examined for its influence versus eclipse of the miniature. The miniaturist’s environment is found to be highly significant, as the city of New York provided constant immersion in art societies, exhibitions, and studio residences where artists coexisted while creating new styles. Focus is on the works of miniaturists Eulabee Dix and Laura Coombs Hills. Patronage is found to be highly supportive of the portrait miniature and essential to an understanding of why the miniature was revived during the period. -
From the Commonwealth to the Georgian Period, 1650-1730
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Abstract Biography of the Author
FRAME: Concept, History and Conservation: Symposium 2, AGNSW, Sydney, April 3 - 5, 2019 George Bisacca Metropolitan Museum of Art, NY, USA [email protected] Abstract This lecture traces the evolution of ornament in Renaissance Florence through manuscript illumination, sculptural and architectural detail, furniture and fresco painting, culminating in the art of Bernardo Buontalenti, who is seen as a link between Mannerism and the Baroque and whose designs in the decorative arts may be responsible for the emergence of the auricular style in frames for the Galleria Palatina at Palazzo Pitti after the devastating fire of 1638. Although various scholars and frame historians attribute the origin of the auricular style to the Netherlands, this is at odds with the otherwise austere and sparse ornament present on buildings and furniture both before and after its 20-year popularity in the Low Countries. Given the seamless evolution and proliferation of ornamental forms across more than three centuries in Italy in general and in Florence in particular, the style would seem to be more logically explained as an outgrowth of existing trends. The flatness and reduced scale of the Northern examples relative to the Florentine prototypes is probably due to the designs first being disseminated northward through drawings. Biography of the Author George Bisacca, The Metropolitan Museum of Art Before joining the Paintings Conservation Department at the Metropolitan in 1983, Mr. Bisacca received conservation training at the Palazzo Pitti, Florence, specializing in the structural treatment of paintings on solid support. He has since been invited to treat panel paintings at several institutions in the United States and Europe. -
Diploma Lecture Series 2012 Absolutism to Enlightenment
Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Charles II and the restoration Lorraine Kypiotis 15 / 16 February 2012 Lecture summary: The Restoration had an exhilarating bravado characterised by a lavish and flamboyant court. It saw the return of the theatre, a flourishing of the arts and the founding of the Royal Society in a court that was the glamorous and often scandalous centre of a London that would rise from the flames like a phoenix. The return of Charles II to the throne in 1660 marked a moment of political and cultural change almost as dramatic as that brought about by his father’s execution 11 years earlier. After the repressions of the interregnum and the uncertainties and poverty of the exiled court, there was an appetite for exuberance, indulgence and transgression – an appetite that the king came to symbolize. After the puritanical sobriety of Cromwell’s parliament, England once again flourished in the arts and sciences. Charles, and his court patronised a number of scientists, architects, poets and dramatists whose influences were felt far beyond the reign of the “Merry Monarch”. Most importantly in the field of the fine arts, Charles was responsible for the recovery of many of the great paintings in the British Royal Collection that had been sold by the Commonwealth after his father’s execution; for the acquisition of a number of fine works by the great artists of the Baroque; and in his patronage of portraitists such as Sir Peter Lely. Charles and the artists he patronised were responsible for the enduring images of a monarchy restored. -
Download the Diary of Samuel Pepys
The Diary of Samuel Pepys by Samuel Pepys The Diary of Samuel Pepys by Samuel Pepys This etext was produced by John Hill. THE DIARY OF SAMUEL PEPYS, ESQ., F.R.S. FROM 1659 TO 1669 WITH MEMOIR Edited by LORD BRAYBROOKE Notes about the etext: There are over a thousand footnotes in the printed text that were added by the editor. Most of these are very short biographical and similar notes, and have been inserted into the etext in square brackets close to the point where they were originally referred to by a suffix. A few of the longer notes have been given a page 1 / 1.002 separate paragraph which has also been placed in square brackets. Text that was in italics in the printed book has been written in capitals in the etext. Accents etc. have been omitted. Where sums of money are referred to, the abreviations 'l.', 's.' and 'd.' are used to designate 'Pounds', 'Shillings', and 'Pence'. In the printed text, the year was printed at the top of each page. As this was not possible in the etext, years have been added to the first entry for each month to make it easier for readers to keep track of the year. Because the old-style calendar was in use at the time the diary was written, in which the New Year began on March 25th, the year has been given a dual number in January, February and March, as has been done elsewhere in the diary, (eg. 1662-63 during the first months of 1663).