The Art of the Low Countries
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Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University. -
Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship
Georgia State University ScholarWorks @ Georgia State University Art and Design Faculty Publications Ernest G. Welch School of Art and Design 2016 More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John Decker Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/art_design_facpub Part of the Art and Design Commons Recommended Citation John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.2. This Article is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John R. Decker [email protected] Recommended Citation: John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kin- ship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.1 Available at http://www.jhna.org/index.php/vol-8-1-2016/322-john-r-decker Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. -
The Institution of the Rosary. Establishing the Context for A
Klara H. Broekhuijsen The Institution of the Rosary. Establishing the context for a recently discovered copy after a lost panel by Geertgen tot Sint Jans in the Pommersfelden Book of Hours, Ms. 343* In the Museum der bildenden Künste in Leipzig there is a sixteenth-century panel depicting The Institution of the Rosary. The style of the figures and the way in which different moments from the story are distributed organically over the picture surface suggest that it is a copy after a lost work that Geertgen tot Sint Jans painted for the Haarlem Confraternity of the Rosary (fig. 1).1 The left half shows the Virgin appear- ing to the kneeling St Dominic, who is receiving the rosary from the Christ Child. The door in the left background opens onto a room in which the bare-chested St 1 Dominic is kneeling before a crucifix with a rosary in his hand. The right half of Copy after Geertgen tot Sint Jans, the painting shows the dissemination of the rosary. In the foreground, St Dominic The Institution of the Rosary, panel, 28 x 42 cm. Leipzig, Museum der accompanied by another friar is presenting a rosary to Queen Blanche of Castile. He bildenden Künste. Photo: Museum is preaching its use from a pulpit in the background. der bildenden Künste, Leipzig. 220 Oud Holland Jaargang/Volume 123 - 2010 Nr. 3/4 2 Copy after Geertgen tot Sint Jans, St Dominic Presenting a Rosary to Queen Blanche of Castile, panel. England, private collection. Photograph taken from Ring 1952 (note 2). There are two other sixteenth century copies after Geertgen’s Institution of the Rosary, but they reproduce only parts of the scenes in the Leipzig painting. -
In .The in .The
M O O D Y B I B L E I N S T I T U T E ‘ S T TOODD.. AAYY IINN THTHEE WOWOAUGUSTRR 2004DD I am gentle and humble in heart, and you will find rest for your souls. Matthew 11:29 GODLY LEISURE—THE WISDOM OF OUR TIME TODAY WITH PRESIDENT STOWELL ARE YOU SLEEPY? Having trouble concentrating? Maybe it’s time for rest, for He “blessed the seventh those sleepless nights. Experts have dis- day and made it holy” (3). covered that too little sleep impairs our ability That is not to say that too much rest to concentrate. Our brain, without adequate cannot be dangerous. Scripture speaks of sleep, can be so depleted in energy that it fails rest as both a blessing and a curse. to make important connections. Research has Proverbs 6 warns, “How long will you lie also shown that deep sleep helps release there, you sluggard? When will you get up important growth hormones in from your sleep?” (v. 9). On the other hand, children and young teens. For Ecclesiastes 5:12 concludes, “The sleep of a people of all ages, sleep has laborer is sweet.” proven vital to both memory In the New Testament, Jesus tells us, and learning. “Come to me, all you who are weary Not surprisingly, ABC’s news and burdened, and I will give you rest” magazine show 20/20 reported (Matt. 11:28). Revelation 14:13 says, that “tens of millions of “They will rest from their labor, for their Americans” suffer from severe deeds shall follow them.” sleep deprivation. -
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. -
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ILLUSTRATED GUIDE IONAL MUSEUM IN NAPLES SANCTIONED BY THE MINISTRY OF EDUCATION RICHTER & CO, - NAPLES PUBLISHERS ILLUSTRATED GUIDE TO THE NATIONAL MUSEUM IN NAPLES EDITORS: G. DE PETRA, formerly Director of the Natio- nal Museum and professor at the University of Naples. A. SOGLIANO, Director of the Ex- cavations at Pompei and professor at the Univer- of sity Naples. G. PATRONI , Professor at the University of Pavie. L. MAR1ANI, Pro- fessor at the University of Pise. E. GABRICI, Director of the Coin Collection in the Natio- nal Museum. D. BASS1 , Director of the Collection of Papyri from Herculaneum. O. MARUCCHI, Director of the Egyptian Col- lection in the Vatican. A. CONT1, Director of the Picture Gallery in the National Museum. PUBLISHERS RICHTER & Co. NAPLES All rights reserved. PREFATORY NOTE This guide book is, with the exception of those pages describing the Picture Gallery, an excerpt from the ency- clopaedic Guida Illustrata del Museo Nazionale di Na- poli, approvata dal Ministero della Pubblica Istruzione, compilata da D. Bassi, E. Gabrici, L. Mariani, O. Ma- rucchi, G. Patroni, G. de Petra, A. Sogliano, per cura di A. Ruesch . The numbers preceding the several descrip- tive notes are identical with those in the Italian work referred to above. In parenthesis are quoted in many cases the numbers affixed to the various objects on the occasion of a recent inventory. For literary references and further information the student is referred to the original Italian edition. ..II..II.JI..II..II ' The National Museum. In the year 1738 the Bourbon King Charles of Naples conceived the idea of presenting the capital of his newly-acquired kingdom with a Mu- seum which should contain all the collected art treasures inherited under the Farnese bequest. -
"MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master. -
Rembrandt [PDF]
Rembrandt Oil Paintings Rembrandt [Holland, 1606 - 1669] Biblical Scene 1642 Oil on wood 28 5/8 x 24 1/8 inches (73 x 61.5 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28801 | Order the painting The Risen Christ Appearing to Mary Magdalen 1638 Oil on wood 24 x 19 3/8 inches (61 x 49.5 cm) Royal Collection, Buckingham Palace, London, England Oil Painting ID: 28802 | Order the painting The Archangel Leaving the Family of Tobias 1637 Oil on wood 25 7/8 x 20 3/8 inches (66 x 52 cm) Musée du Louvre, Paris, France Oil Painting ID: 28803 | Order the painting The Blinding of Samson The Blinding of Samson, 1636, Stadelscleskunstinstut, Frankfurt Oil Painting ID: 28804 | Order the painting Belshazzar's Feast 1635 Oil on canvas 66 1/8 x 82 1/4 inches (168 x 209 cm) National Gallery, London, England Oil Painting ID: 28805 | Order the painting 1/3 The Sacrifice of Abraham 1635 Oil on canvas 75 7/8 x 52 1/4 inches (193 x 133 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28806 | Order the painting Descent from the Cross 1634 Oil on canvas 62 1/8 x 46 inches (158 x 117 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28807 | Order the painting The Incredulity of St. Thomas 1634 Oil on wood 20 3/4 x 20 inches (53 x 51 cm) Pushkin Museum, Moscow, Russia Oil Painting ID: 28808 | Order the painting The Anatomy Lecture of Dr. Nicolaes Tulp 1632 Oil on canvas 66 5/8 x 85 1/8 inches (169.5 x 216.5 cm) Mauritshuis, The Hague, Netherlands Oil Painting ID: 28809 | Order the painting Balaam's Ass 1626 Oil on panel 24 3/4 x 18 1/4 inches (63 x 46.5 cm) Musée Cognacq-Jay, Paris, France Oil Painting ID: 28810 | Order the painting Total 14 pages, 1/14 | Page : [1] 2 3 4 5 Rembrandt (Nationality : Holland, 1606 - 1669) Rembrandt [Rembrandt van Rijn] was a Dutch baroque artist who ranks as one of the greatest painters in the history of Western art. -
'A Man of Sorrows, and Acquainted with Grief'
‘A Man of Sorrows, and Acquainted with Grief’ Imagery of the Suffering Christ in the Art of the Late Medieval Low Countries and Counter-Reformation Spain Candidate Number: R2203 MA Art History, Curatorship and Renaissance Culture The Warburg Institute, School of Advanced Study 30/09/2015 Word Count: 14,854 Table of Contents Introduction 3 Chapter 1: The Man of Sorrows – A Reassessment 6 Chapter 2: Early Netherlandish Images of the Suffering Christ 14 Chapter 3: Counter-Reformation Spanish Polychrome Sculptures 21 Chapter 4: Comparison and Analysis: Netherlandish Influences on Spanish Polychrome Sculpture 27 Conclusion 35 Figures 37 Table of Figures 56 Bibliography 58 2 Introduction During the later Middle Ages in Europe, there was a great increase in private devotion: a rise in the production of Books of Hours, the increase of mendicant orders and the new development of private chapels in churches and cathedrals all contributed towards religion being much more personal and intimate than ever before.1 Especially in Northern Europe, where the Imitatio Christi of Thomas à Kempis2 gained previously unknown popularity, private devotion was encouraged. The Devotio Moderna, which took hold especially in the Low Countries and Germany, emphasised a systematic and personal approach to prayer.3 Devotional images, which could engage with believers on a one-on-one, personal level, were majorly important features of way of practising religion, and the use of images as foci for devotion was encouraged by many writers, not only Thomas à Kempis, but also -
The Triumph of Flora
Myths of Rome 01 repaged 23/9/04 1:53 PM Page 1 1 THE TRIUMPH OF FLORA 1.1 TIEPOLO IN CALIFORNIA Let’s begin in San Francisco, at the California Palace of the Legion of Honor in Lincoln Park. Through the great colonnaded court, past the Corinthian columns of the porch, we enter the gallery and go straight ahead to the huge Rodin group in the central apse that dominates the visitor’s view. Now look left. Along a sight line passing through two minor rooms, a patch of colour glows on the far wall. We walk through the Sichel Glass and the Louis Quinze furniture to investigate. The scene is some grand neo-classical park, where an avenue flanked at the Colour plate 1 entrance by heraldic sphinxes leads to a distant fountain. To the right is a marble balustrade adorned by three statues, conspicuous against the cypresses behind: a muscular young faun or satyr, carrying a lamb on his shoulder; a mature goddess with a heavy figure, who looks across at him; and an upright water-nymph in a belted tunic, carrying two urns from which no water flows. They form the static background to a riotous scene of flesh and drapery, colour and movement. Two Amorini wrestle with a dove in mid-air; four others, airborne at a lower level, are pulling a golden chariot or wheeled throne, decorated on the back with a grinning mask of Pan. On it sits a young woman wearing nothing but her sandals; she has flowers in her hair, and a ribboned garland of flowers across her thighs. -
|||GRATIS||| Geertgen Tot Sint Jans Ebook
GEERTGEN TOT SINT JANS GRATIS EBOOK Auteur: Aart Van Der Kuijl Aantal pagina's: 304 pagina's Verschijningsdatum: 2019-12-13 Uitgever: Uitgeverij Loutje Bv EAN: 9789491936227 Taal: nl Link: Download hier The Holy Kinship (Geertgen tot Sint Jans) - Wikipedia Geertgen tot Sint Jans ca. The principal source of knowledge concerning Geertgen tot Sint Jans, also called Geertgen van Haarlem, is the Dutch biographer Karel van Mander, who wrote about him in John as well as a pupil of Albert van Ouwater. Van Mander records that Geertgen died at the age of More recent discoveries, however, suggest that he was actually born in Leiden and that he served a portion of his apprenticeship in Flanders, probably at Bruges. In any case, his paintings display a marked Flemish influence, especially from the works of Hugo van der Goes. The earliest painting attributed to Geertgen is the Holy Kinship ca. Geertgen's Adoration of the Magi in Geertgen tot Sint Jans, from a few years later, reveals the added inspiration of Van der Goes for the composition and the quality of the continuous landscape recession. Geertgen's Geertgen tot Sint Jans works are characterized by feelings of intense devotion as well Geertgen tot Sint Jans increasing formal innovation. A small Nativity in London, for example, is not only profoundly emotive but highly original, representing as it does the first true nocturne in Western art. In much the same way, the famous St. John the Baptist in the Wilderness is expressive of deep religious sentiment yet also reveals the "most advanced conception of landscape to appear in 15th-century Flemish painting" Charles D. -
An Expanded View of the Forms and Functions of 15Th-Century Netherlandish Devotional Art
SEEKING THE PERSONAL: AN EXPANDED VIEW OF THE FORMS AND FUNCTIONS OF 15TH-CENTURY NETHERLANDISH DEVOTIONAL ART By BRENNA FRANCES BRALEY 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 2005 Copyright 2005 by Brenna Frances Braley ACKNOWLEDGMENTS I would first like to thank the members of my committee, John L. Ward and Robin Poynor, for all of their help and encouragement while working on this project. I also thank Julie Kauffman, Johanna Kauffman, Bonnie Hampton, and Jody Berman (for their technological assistance), Joshua Braley, Linda Braley, and Rance Braley (for their help as proofreaders), and all the rest of my friends and family (for their unending patience and moral support). iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii LIST OF FIGURES .............................................................................................................v ABSTRACT...................................................................................................................... vii CHAPTER 1 INTRODUCTION ........................................................................................................1 2 HISTORICAL AND THEOLOGICAL CONTEXT....................................................5 3 THE PHYSICAL AND THE SPIRITUAL ................................................................26 4 RELIGIOUS EXPERIENCE AND