DOCSLIB.ORG

Colnaghistudiesjournal Journal-01

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Colnaghistudiesjournal Journal-01 EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London. conservation, decorative arts, and the history of collecting, covering a wide range and Museum Studies, School of Fine Art, University of Leeds. Xanthe Brooke Curator of Continental European Art, Walker of periods and geographical areas. Texts should be between 1000 and 10,000 words Betsy Wieseman Chair of European Art from Classical Art Gallery, Liverpool. Antiquity to 1800 and Paul J. and Edith Ingalls Vignos, Jr. (including endnotes) and include five to ten illustrations depending on the length of the Christopher Brown Art Historian specializing in Dutch and Curator of European Paintings and Sculpture, 1500-1800, article, with at least two images of the object itself and appropriate comparative images. Flemish Seventeenth-Century Art, former Director, Ashmolean The Cleveland Museum of Art. Museum, Oxford. Matthias Wivel Curator, Sixteenth-Century Italian Paintings, The Colnaghi Foundation is a platform for realizing a variety of projects in Caroline Campbell The Jacob Rothschild Head of the The National Gallery, London. collaboration with scholars, museums, and educational institutions worldwide. These Curatorial Department and Curator of Italian Paintings before Yao-Fen You Associate Curator of European Sculpture and include organizing exhibitions and other educational events, supporting scholarly 1500, The National Gallery, London. Decorative Arts, Detroit Institute of Arts. research, and publishing Colnaghi Studies Journal as well as other monographs, conference Ignacio Cano Conservador & Jefe Departamento Difusión, Dimitrios Zikos Curator of Sculpture working with the Museo Museo de Bellas Artes de Sevilla. proceedings, and catalogues. Nazionale del Bargello, Florence. Peter Cherry Assistant Professor, Trinity College Dublin. Rosario Coppel Art Historian specializing in Spanish Sculpture. Christina Currie Head of Scientific Imagery at the Royal EDITORS Institute for Cultural Heritage (KIK/IRPA), Brussels. Nicola Jennings, Jeremy Howard and José Gómez Frechina Gail Feigenbaum Associate Director, Getty Research Institute, Los Angeles. Associate Editor: Irene Brooke MANUSCRIPT GUIDELINES FOR THE COLNAGHI STUDIES JOURNAL Peter Humfrey Emeritus Professor, School of Art History, University of St. Andrews. Submissions should be emailed to: [email protected]. reference the first time it appears, and then an abbreviated Paul Joannides Emeritus Professor of Art History, University of Project Director: Ricardo Fernández-Deu version which includes only the last name(s) of the author or Cambridge. Manuscripts are reviewed by the Journal’s Editorial Commitee. authors and the date of publication and a short title. When Designer: Laura Eguiluz de la Rica They may be submitted, complete including illustrations, at any time. Kirstin Kennedy Curator of Silverwork, Metalwork, Victoria & submitting manuscripts, authors should include a PDF of all Project coordinators: Sarah Gallagher and Hector San José Albert Museum, London. illustrations. Authors are encouraged to include dates and Picture researcher: Elisa Salazar and Sarah Gallagher Authors will have the opportunitiy to review their texts after Alastair Laing Former Curator of Pictures and Sculpture at the editing. The honorarium for research expenses is Euros 1,000, dimensions of works within captions; the editors will not National Trust. and each author will receive a hard copy of the volume in which include this information unless it is provided by the author on Published by the Colnaghi Foundation Barbara Lasic Lecturer in Art History, University of Buckingham. his or her article appears. submission. Please do not embed images within text documents. Copyright Colnaghi Foundation If the manuscript is accepted, the author is expected to Riccardo Lattuada Full Professor of Art History of the Manuscripts should be submitted as double-spaced Word files. provide publication-quality images as well as copyright Modern Age, Università degli studi della Campania “Luigi Please direct all subscription enquiries and back issue requests to: In addition to the text, the manuscript must include endnotes, Vanvitelli”, Naples. The Colnaghi Foundation, 26 Bury Street, London SW1Y 6AL permissions to reproduce them in both the print and electronic captions for illustrations, photographic credits, and a 200-word editions of the Journal. Patrick Lenaghan Curator of Prints and Photographs, The abstract. Each part of the article should be in a separate file Hispanic Society of America, New York. except the endnotes, which should be linked to and appear at the Height precedes width and then depth in dimensions cited. Patrice Marandel Former Chief Curator/Department Head of end of the text file. Copyright notice European Painting and Sculpture, Los Angeles County Museum of Art. The Journal requires either digital scans of at least 300 dpi at For the style of captions and bibliographic references in endnotes, 3,000 pixels wide, colour transparencies (preferably 203 x 254 cm The Colnaghi Foundation endeavours to respect copyright in Jennifer Montagu Art Historian specializing in Italian Baroque. authors are referred to the Chicago Manual of Style and a manner consistent with its nonprofit educational mission. If but 102 x 152 cm is also acceptable), or glossy black-and-white Larry Nichols William Hutton Senior Curator, European and instructions on the Colnaghi Foundation’s website: you believe any material has been included in this publication photographs (preferably 203 x 254 cm with white borders) of American Painting and Sculpture before 1900, Toledo Museum improperly, please contact the Foundation. www.colnaghifoundation.org/journal good quality and in good condition. of Art, Ohio. Please provide a list of all bibliographic citations that includes, Gianni Papi Art Historian specializing in Caravaggio. All rights reserved. No part of this publication may be In a separate Word file, please indicate the figure number, the reproduced or transmitted in any form or by any means, for each title: full name(s) of author or authors; title and subtitle picture’s orientation, and any instructions for cropping. Edward Payne Senior Curator, Spanish Art, Auckland Castle Trust. electronic or mechanical, including photocopying, recording, or of book or article and periodical; place, publisher, and date Martin Postle Deputy Director for Grants and Publications, any information storage or retrieval system, without permission in of publication; volume number, if any; and page, plate, and/ The author of each article is responsible for obtaining all The Paul Mellon Centre for Studies in British Art, London. writing from The Colnaghi Foundation. or figure number(s). For citations in notes, please cite the full photographic material and reproduction rights. 8 CHAPTER X / Xxxxxx Xxxxx CONTENTS Two newly-discovered paintings of The Return of the Prodigal Son “The volatile and vivacious connoisseur of the old school”: a portrait 10 by Mattia Preti 88 of the Victorian art dealer Martin Colnaghi (1821-1908) and his KEITH SCIBERRAS relationship with the National Gallery, London SUSANNA AVERY-QUASH A new Holy Family by the Spanish Renaissance master 22 Joan de Joanes Titian’s Unidentified Donor Presented to the Virgin and Child by Saint Luke JOSÉ GÓMEZ FRECHINA 114 at Hampton Court PAUL JOANNIDES An unpublished Vanitas painting by Andrés De Leito 36 FERNANDO COLLAR DE CÁCERES The Sutherland Gallery at Stafford House: contents and display 126 PETER HUMFREY Luis Quijada: Pompeo Leoni’s Portrait of a Knight of the Order 56 of Alcántara or Calatrava identified Three pictures by G.C. Procaccini at Colnaghi: The Agony in the Garden; ROSARIO COPPEL 156 Christ Meeting his Mother on the Road to Calvary; The Holy Family HUGH BRIGSTOCKE A rediscovered painting
Load more

Recommended publications
  • STUDIEN ZUR IKONOGRAPHIE DES KUNSTBETRACHTERS Im 17., 18
    STUDIEN ZUR IKONOGRAPHIE DES KUNSTBETRACHTERS im 17., 18. und 19. Jahrhundert Von der Philosophischen Fakultät der Rheinisch-Westfälischen Technischen Hochschule Aachen zur Erlangung des akademischen Grades eines Doktors der Philosophie genehmigte Dissertation vorgelegt von Heinrich Silvester Johannes Becker aus Ulm/Donau Berichter: Universitätsprofessor Dr. phil. Andreas Beyer Universitätsprofessor Dr. phil. Theo Buck Professurvertreter Dr. phil. Alexander Markschies Tag der mündlichen Prüfung: 21. 01. 2005 Diese Dissertation ist auf den Internetseiten der Hochschulbibliothek online verfügbar Rachel und meinen Eltern Wem ich danken möchte: - Prof. Dr. Adreas Beyer, der sich ohne Umschweife dazu bereit erklärte, die Betreuung dieser Arbeit von seinem Vorgänger zu übernehmen - Prof. Dr. Hans Holländer, dem besagten Vorgänger, von dem der entscheidende Anstoß zur Themen- findung kam - Prof. Dr. Walter Grasskamp für sein Interesse und seine Hinweise - Prof. Dr. Theo Buck für ein offenes Ohr und die umgehende Bereitschaft als Berichter zu fungieren - Professurvertreter Dr. Alexander Marschies für die freundliche und unkomplizierte Art, mit der er die Aufgabe des Gutachters übernahm - meiner Tochter Rachel und ihrer Mutter Viola Kramer für die vielen Entbehrungen, die sie im Lauf der Jahre - wenn auch nicht immer ganz freiwillig - auf sich genommen haben, und für ihr oft mühevol- les Streben, mich im ‘richtigen’ Leben zu halten - meinen Eltern für ihre bereitwillige Unterstützung in jeder Hinsicht - Gabriela Ruhmann, ohne die und deren Verständnis,
    [Show full text]
  • Catalogo.Pdf
    ART HISTORY NATURE FOOD & DRINK CINEMA PHOTOGRAPHY HOBBY SPORT HISTORY OF ART 28 History and Figures of the Church 35 The Contemporary Mosaic 45 Contents The First Civilizations 28 Techniques and Materials Bulgari 45 The Classical World 28 of the Arts 35 Gucci 45 The Early Middle Ages 28 The Romanesque 29 DICTIONARIES OF CIVILIZATION 36 SCRIPTS & ALPHABETS 46 Still Life 21 Goya 24 The Gothic 29 Arabic Alphabet 46 ART The Portrait 21 Leonardo 24 The 1400s 29 Oceania 37 Chinese Script 46 Islamic Art 28 Hieroglyphs 46 Art and Eroticism 21 Manet 24 Africa 38 The Painting of the Serenissima 10 Byzantine and Russian Art 28 Mayan Script 46 Landscape in Art 21 Mantegna 24 Celts, Vikings and Germans 38 The Renaissance 29 Japanese Alphabet 46 The Galleria Farnese Michelangelo 25 China 38 The Late 1500s 29 Hebrew Alphabet 46 of Annibale Carracci 11 GREAT MONOGRAPHS 22 Monet 25 Egypt 38 The Baroque 28 Musée d’Orsay 11 Bosch 22 Perugino 24 Etruscans 38 The Early 1700s 28 CULTURE GUIDES 47 Correggio. The Frescoes in Parma 11 Caravaggio 22 Piero della Francesca 24 Japan 38 The Age of the Revolutions 28 Archaeology 47 Botticelli 11 Cézanne 22 Raphael 25 Greece 38 Romanticism 28 Art 47 Goya 11 Gauguin 22 Rembrandt 24 India 38 The Age of Impressionism 28 Artistic Prints 47 Museum of Museums 11 Giotto 22 Renoir 24 Islam 38 American Art 28 Design 47 Goya 22 Tiepolo 24 Maya and Aztec 38 Nicolas Poussin Ethnic Art 47 Leonardo da Vinci 22 Tintoretto 24 The Avant-Gardes 29 Mesopotamy 38 Catalogue raisonné of the Paintings 12 Graphic Design 47 Michelangelo 22 Titian 25 Contemporary Art 28 Rome 38 Photography, Cinema, Design 28 Impressionism 47 Palladio.
    [Show full text]
  • Prisoners of Geography Is a Concise and Useful Primer on Geopolitics.’
    ‘Marshall is not afraid to ask tough questions and provide sharp answers … His approach is simple but eective. Ten chapters, each accompanied by a map, cover the world’s regions and global powers. Each shows how geography shapes not just history but destiny. In an ever more complex, chaotic and interlinked world, Prisoners of Geography is a concise and useful primer on geopolitics.’ – Adam LeBor, Newsweek ‘Sharp insights into the way geography shapes the choices of world leaders.’ – Gideon Rachman, The World blog, ft.com ‘An exceptional work, well-researched, argued and documented … a treasure of information to satisfy the specialist researcher into contemporary geopolitics and oers a riveting insight to the general reader or student.… It is all covered in this magnicent book, which I highly recommend.’ – Nehad Ismail, writer and broadcaster ‘There are few foreign correspondents in the current British media who can present an overview of a political situation quite like Tim Marshall … in Prisoners of Geography he presents this knowledge and experience quite brilliantly. It’s a cleverly written book and underlines what makes Tim Marshall such an eective voice on world aairs.’ – retroculturati.com ‘Marshall’s latest book explains how politics is nothing without geography, in his crisp and compelling style … What he really excels at is capturing the psychology of nations and giving maps a power that politicians must tame.’ – Top Ten Holiday Reads, Dan Lewis, Stanfords, WorldTravelGuide.net ‘Quite simply, one of the best books about geopolitics
    [Show full text]
  • The Controversial Treatments of the Wallace Collection
    HOME ABOUT US THE JOURNAL MEMBERSHIP ARCHIVE LINKS 8 September 2011 The Controversial Treatments of the Wallace Collection Watteaus Restorers who blunder often present their dramatically altered works as miraculous “recoveries” or “discoveries”. Sometimes they (or their curators) park their handiwork in dark corners pending re-restorations (see the Phillips Collection restoration of Renoir’s “The Luncheon of the Boating Party” and the Louvre’s multi- restoration of Veronese’s “The Pilgrims of Emmaüs”). Here, Dr Selby Whittingham, the Secretary-General of the Watteau Society (and the 2011 winner of ArtWatch International’s Frank Mason Prize – see below), discusses the controversial restorations of Watteau paintings at the Wallace Collection and calls for greater transparency and accountability in the treatment of old masters. Above, Fig. 1: “Les charmes de la vie”, (reversed) engraving by Pierre Aveline, after Antoine Watteau, the British Museum, London. Selby Whittingham writes: The Watteau exhibitions held in London 12 March – 5 June 2011 prompted much comment, but little about the condition of the oils at the Wallace Collection [- see endnote 1]. Exceptionally Brian Sewell mentioned their poor state: “both overcleaned and undercleaned, victims of cleaners with Brillo pads and restorers with a taste for gravy.” [2] This was a bit sweeping, but had some justification. In the Watteau Society Bulletin 1985 Sarah Walden contrasted the recent restorations at the Wallace Collection with those at the Louvre and the Above, Fig. 2: Watteau’s “Les charmes de la vie” as reproduced in the Wallace Collection’s 1960 volume of different philosophies behind them [3]. The report illustrations of pictures and drawings to accompany the on the cleaning of “Les Charmes de la vie” at the Catalogue of Pictures and Drawings.
    [Show full text]
  • Christmas Cantata (2019) 2
    I. Come, O Come, Emmanuel (intro) (Numbers 24:17) Words of hope sustained God’s chosen people as they awaited the promised Messiah. (Numbers 24:17) A star will come out of Jacob; a scepter will rise out of Israel. “The Creation of Adam” - Michelangelo (1512) O come, O come, Emmanuel, "The Creation of Eve” - Michelangelo (1508-1512) And ransom captive Israel, "The Fall of Adam" - Michelangelo (1508-1512) That mourns in lonely exile here "The Expulsion From Paradise" - Michelangelo (1508-1512) Until the Son of God appear. "Labors of Adam and Eve" - Alonso Cano (1650) O come, Thou Dayspring, come and cheer "Cain and Abel" - Tintoretto (1550) our spirits by Thine Advent here; "The Lamentation of Abel” Pieter Lastman (1623) and drive away the shades of night, "Cain Flees" - William Blake (1825) and pierce the clouds and bring us light! Rejoice, Rejoice! Emmanuel shall come to thee, O Israel! (interlude) "The Flood” - J.M.W. Turner (1804) The King shall come when morning dawns “God’s Promise” Joseph Anton Koch (1803) and light triumphant breaks; “ God’s Covenant with Abram” Byzantine (6th Century) When beauty gilds the eastern hills “Jacob’s Dream” Lo Spangnoletto (1639) and life to joy awakes. ”Joseph Sold into Slavery" - Damiano Mascagni (1602) The King shall come when morning dawns ”Joseph Saves Egypt" – Bartholomeus Breenbergh (1644)) and earth’s dark night is past; “Hebrews Make Bricks” Tomb (1440 BC) O haste the rising of that morn, “Burning Bush” – Sebastien Bourdon (17th cent.) the day that e’er shall last. “Crossing of the Red Sea” Come, Emmanuel; “Israelites led by Pillar of Light” – William West (1845) Come, Emmanuel; “Israelites led by Pillar of Fire” The Morning Star shall soon arise, O Come, Emmanuel.
    [Show full text]
  • Illustrated and Descriptive Catalogue and Price List of Stereopticons
    —. ; I, £3,v; and Descriptive , Illustrated ;w j CATALOGUE AND PRICE LIST- t&fs — r~* yv4 • .'../-.it *.•:.< : .. 4^. ; • ’• • • wjv* r,.^ N •’«* - . of . - VJ r .. « 7 **: „ S ; \ 1 ’ ; «•»'•: V. .c; ^ . \sK? *• .* Stereopticons . * ' «». .. • ” J- r . .. itzsg' Lantern Slides 1 -f ~ Accessories for Projection Stereopticon and Film Exchange W. B. MOORE, Manager. j. :rnu J ; 104 to no Franlclin Street ‘ Washington . (Cor. CHICAGO INDEX TO LANTERNS, ETC. FOR INDEX TO SLIDES SEE INDEX AT CLOSE OF CATALOGUE. Page Acetylene Dissolver 28 Champion Lantern 3g to 42 “ Gas 60 Check Valve S3 •* 1 • .• Gas Burner.... ; 19 Chemicals, Oxygen 74, 81 ** < .' I j Gas Generator.. ; 61 to 66 Chirograph 136 “ Gas Generator, Perfection to 66 64 Chlorate of Potash, tee Oxygen Chemicals 74 Adapter from to sire lenses, see Chromatrope.... 164 Miscellaneous....... 174 Cloak, How Made 151 Advertising Slides, Blank, see Miscellaneous.. 174 ** Slides 38010,387 " Slides 144 Color Slides or Tinters .^140 “ Slides, Ink for Writing, see Colored Films 297 Miscellaneous, 174 Coloring Films 134 “ Posters * *...153 " Slides Alcohol Vapor Mantle Light 20A v 147 Combined Check or Safety Valve 83 Alternating.Carbons, Special... 139 Comic and Mysterious Films 155 Allen Universal Focusing Lens 124, 125 Comparison of Portable Gas Outfits 93, 94 America, Wonders cf Description, 148 “Condensing Lens 128 Amet's Oro-Carbi Light 86 to 92, 94 " Lens Mounting 128 •Ancient Costumes ....! 131 Connections, Electric Lamp and Rheostat... 96, 97 Approximate Length of Focus 123 " Electric Stage 139 Arc Lamp 13 to 16 Costumes 130 to 152, 380 to 3S7 ** Lamp and Rheostat, How to Connect 96 Cover Glasses, see Miscellaneous ,....174 Arnold's Improved Calcium Light Outfit.
    [Show full text]
  • Index I : Collections
    INDEX I : COLLECTIONS This index lilts all the extant paintings, oil sketches and drawings catalogued in both volumes of Part vm . Copies have also been included. The works are lilted alphabetically according to place. AIX-EN-PROVENCE, ST. MAGDALEN’S Head Study of St. Catherine of Alex­ CHURCH andria, Cat. 88b, I, 137, 138, fig. T. Boeyermans, painting: 153 The Martyrdom of St. Paul, Cat. 138, ANTWERP, G, FAES II, 134 -137 , fig. 92 Anonymous, painting after Rubens: ALOST, ST. MARTIN’S CHURCH Angels Transporting the Dead Body Rubens, paintings: of St. Catherine of Alexandria, Cat. The Holy Virgin Holding the Infant 79. h I2 3> fig- 13 8 Christ, Cat. 143, 11, 146, 147, fig. ANTWERP, KONINKLIJK MUSEUM 106 VOOR SCHONE KUNSTEN St. Roch Interceding for the Plague­ Rubens, paintings: Stricken, Cat. 140, I, 22, 1 12 ; il, The Lalt Communion of St. Francis of I4 2-I4 7; fig. 102 Assisi, Cat. 102, I, 156 -16 2, fig. Studio of Rubens, paintings: 178; II, 180 St. Roch Fed by a Dog, Cat. 14 1, 11, St. Teresa of Avila Interceding for Ï44-X47, fig. 104 Bernardino de Mendoza, Cat. 155, The Death of St. Roch, Cat. 142, 11, i, 92; i i , 166-168, fig. 125 144-147, fig. 105 Anonymous, painting after Rubens: ALOST, A. CHRISTIAENS St. Thomas Aquinas, Cat. 15 7 ,11, 170, Anonymous, painting after Rubens: fig. 129 St. Magdalen Repentant, Cat. 130, II, ANTWERP, PRESBYTERY OF ST. ANDREW’S 119 CHURCH ALOST, F. VAN ESSCHE Anonymous, painting after Rubens: Anonymous, painting after Rubens: St.
    [Show full text]
  • Read the Full PDF
    Safety, Liberty, and Islamist Terrorism American and European Approaches to Domestic Counterterrorism Gary J. Schmitt, Editor The AEI Press Publisher for the American Enterprise Institute WASHINGTON, D.C. Distributed to the Trade by National Book Network, 15200 NBN Way, Blue Ridge Summit, PA 17214. To order call toll free 1-800-462-6420 or 1-717-794-3800. For all other inquiries please contact the AEI Press, 1150 Seventeenth Street, N.W., Washington, D.C. 20036 or call 1-800-862-5801. Library of Congress Cataloging-in-Publication Data Schmitt, Gary James, 1952– Safety, liberty, and Islamist terrorism : American and European approaches to domestic counterterrorism / Gary J. Schmitt. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8447-4333-2 (cloth) ISBN-10: 0-8447-4333-X (cloth) ISBN-13: 978-0-8447-4349-3 (pbk.) ISBN-10: 0-8447-4349-6 (pbk.) [etc.] 1. United States—Foreign relations—Europe. 2. Europe—Foreign relations— United States. 3. National security—International cooperation. 4. Security, International. I. Title. JZ1480.A54S38 2010 363.325'16094—dc22 2010018324 13 12 11 10 09 1 2 3 4 5 6 7 Cover photographs: Double Decker Bus © Stockbyte/Getty Images; Freight Yard © Chris Jongkind/ Getty Images; Manhattan Skyline © Alessandro Busà/ Flickr/Getty Images; and New York, NY, September 13, 2001—The sun streams through the dust cloud over the wreckage of the World Trade Center. Photo © Andrea Booher/ FEMA Photo News © 2010 by the American Enterprise Institute for Public Policy Research, Wash- ington, D.C. All rights reserved. No part of this publication may be used or repro- duced in any manner whatsoever without permission in writing from the American Enterprise Institute except in the case of brief quotations embodied in news articles, critical articles, or reviews.
    [Show full text]
  • No, Not Caravaggio
    2 SEPTEMBER2018 I valletta 201 a NO~ NOT CARAVAGGIO Crowds may flock to view Caravaggio's Beheading of StJohn another artist, equally talented, has an even a greater link with-Valletta -Mattia Preti. n 1613, in the small town of Taverna, in Calabria, southern Italy, a baby boy was born who would grow up to I become one of the world's greatest and most prolific artists of his time and to leave precious legacies in Valletta and the rest of Malta. He is thought to have first been apprenticed to Giovanni Battista Caracciolo, who was known as a follower and admirer of Caravaggio. His brother, Gregorio, was also a painter and painted an altarpiece for the Chapel of . the world designed and built by Preti, sometime in the 1620s Preti joined.him in the Langue of Aragon, Preti offered to do and no fewer than seven of his paintings Rome. · more wor1< on the then new and very, hang within it. They include the There he grasped Caravaggio's bareSt John's Co-Cathedral. Grand monumental titular painting and others techniques and those of other famous Master Raphael Cotoner accepted his which fit perfectly in the architecturally and popular artists of the age, including offer·and commissioned him to decorate designed stone alcoves he created for Rubens and Giovanni Lanfranco. the whole vaulted ceiling. The them. Preti spent time in Venice between 1644 magnificent scenes from the life of St In keeping with the original need for and 1646 taking the chance to observe the John took six years and completely the church, the saints in the images are all opulent Venetian styles and palettes of transformed the cathedral.
    [Show full text]
  • Elhanan Bicknell - Collection of Paintings
    Elhanan Bicknell - Collection of paintings. Detail of those by JMW Turner Index Himalayan mountains ....................................................................................................2 Himalayan mountains ....................................................................................................3 Giudecca, la Donna della Salute and San Georgio ........................................................4 Campo Santo, Venice.....................................................................................................5 Palestrina – a Composition ............................................................................................6 Sun rising through Vapour.............................................................................................7 Calder Bridge.................................................................................................................8 Ivy Bridge Mill ..............................................................................................................9 Port Ruysdael...............................................................................................................10 Wreckers - Coast of Northumberland,.........................................................................11 Ehrenbreitstein:............................................................................................................12 Helvoetsluys: ‘The City of Utrecht’, 64, going to sea .................................................14 Antwerp: Van Goyen Looking for a Subject
    [Show full text]
  • Open Windows 5
    Open Windows 5 April 2014 400th Anniversary of the birth of Gerrit Dou Dolores Delgado p. 3 Anatomy of the Emilio Castelar, Muse: In Misia’s Gustave Arosa Footsteps and Paul Gauguin Clara Marcellán Andrea van Houtven p. 8 p. 13 Giacometti and Portrait of a Woman Marta Ruiz del Árbol p. 17 Open Windows 5 We present the fifth issue of Ventanas, which includes an homage to Gerrit Dou on the 400th anniversary of his birth; an analysis of the patron and muse Misia Sert on the occasion of the loan of her portrait to the recent exhibition at the Musée d’Orsay; a study on the influence of the collector Gustave Arosa on Gauguin, based on the testimony of Emilio Castelar; and, finally, an explanation of how the recent identification of the sitter for Giacometti’s Portrait of a Woman allows us to become more familiar with the artist’s creative process. Open Windows 5 April 2014 © Museo Thyssen-Bornemisza, Madrid 400th Anniversary of the birth of Gerrit Dou “Wonderful, lively, strong [and] powerful” Joachim von Sandrart1 Dolores Delgado Anonymous Introduction and biography Gerrit Dou, 18th century. Print from Antoine- Joseph Dézallier d’Argenville, Abrégé de la vie des plus fameux peintres, Paris, 1745 Gerrit Dou, also known as Gerard Dou, was born on 7th April 1613 in Leiden, where he became enormously popular, particularly among the social elite, and lived for the whole of his life. Leiden, whose university was founded in 1575, was a large commercial centre which attracted intellectuals and painters (including Aertgen [1498–1568] and Lucas van Leyden [1494–1533]), engravers, and stained-glass window designers, among these Gerrit’s own father, Douwe Jansz, himself a glazier and engraver.
    [Show full text]
  • Carel Fabritius (Middenbeemster 1622 – 1654 Delft)
    Carel Fabritius (Middenbeemster 1622 – 1654 Delft) How To Cite Bakker, Piet. "Carel Fabritius." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. In studying the life and work of Carel Fabritius, one soon notices that scholarly interest in his artistry focuses on two different “periods”: a real one and an imagined one. Naturally, the most attention is given to Carel’s actual career, which began around 1641 and ended in 1654. Then there is the great speculation regarding the period that never existed, but which could have, had his life not been cut short by the devastating explosion of the powder magazine in Delft in 1654. Only thirteen paintings have been firmly attributed to him, and his limited artistic legacy is sorely lamented. Famous paintings likeThe Goldfinch[1] andThe Sentry[2] bespeak such originality and artistic quality that we can only regret all the works he never painted. Unfortunately, his untimely death has made it virtually impossible to determine whether his talent would have eventually been great enough to equal, if not surpass, that of his teacher, Rembrandt van Rijn (1606–69). Fabritius’s parents were Pieter Carelsz and Barbertje van der Maes. He was baptized in Middenbeemster, a village just north of Amsterdam, on 27 February 1622.[3] His father worked there as a sexton, a schoolteacher and, in “the spare time outside school,” also as a painter.[4] Thus Carel, like his brothers Barent (1624–73) and Johannes, must have received his first painting lessons from his father.
    [Show full text]