DOCSLIB.ORG

Scandinavian Oil Studies and a Portrait

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scandinavian Oil Studies and a Portrait Scandinavian Oil Studies and a Portrait Carl-Johan Olsson Curator, Paintings and Sculpture Art Bulletin of Nationalmuseum Stockholm Volume 21 Art Bulletin of Nationalmuseum, Stockholm, Photo Credits Every effort has been made by the publisher to is published with generous support from © Palazzo d’Arco, Mantua, inv. 4494/Photo: credit organizations and individuals with regard the Friends of the Nationalmuseum. Nationalmuseum Image Archives, from Domenico to the supply of photographs. Please notify the Fetti 1588/89–1623, Eduard Safarik (ed.), Milan, publisher regarding corrections. Nationalmuseum collaborates with 1996, p. 280, fig. 82 (Figs. 2 and 9A, pp. 13 and Svenska Dagbladet and Grand Hôtel Stockholm. 19) Graphic Design We would also like to thank FCB Fältman & © Pushkin State Museum of Fine Arts, Moscow BIGG Malmén. (Fig. 3, p. 13) © bpk/Staatliche Kunstsammlungen Dresden/ Layout Cover Illustrations Elke Estel/Hans-Peter Klut (Figs. 4, 5B, 6B and Agneta Bervokk Domenico Fetti (1588/89–1623), David with the 7B, pp. 14–17) Head of Goliath, c. 1617/20. Oil on canvas, © Digital image courtesy of the Getty’s Open Translation and Language Editing 161 x 99.5 cm. Purchase: The Wiros Fund. Content Program (Figs. 8 and 10B, pp. 18 and Gabriella Berggren, Martin Naylor and Kristin Nationalmuseum, NM 7280. 20) Belkin. © CATS-SMK (Fig. 10A, p. 20) Publisher © Dag Fosse/KODE (p. 25) Publishing Berndt Arell, Director General © Nasjonalmuseet for kunst, arkitektur og design/ Ingrid Lindell (Publications Manager) and The National Museum of Art, Architecture and Janna Herder (Editor). Editor Design, Oslo (p. 28) Janna Herder © SMK Photo (p. 31) Art Bulletin of Nationalmuseum is published © From the article ”La Tour and Lundberg’s annually and contains articles on the history and Editorial Committee portraits of la princesse de Rohan”, by Neil Jeffares, theory of art relating to the collections of the Mikael Ahlund, Magdalena Gram, Janna Herder, http://www.pastellists.com/Essays/LaTour_ Nationalmuseum. Helena Kåberg, Magnus Olausson and Lidia Rohan.pdf, 2015-09-21, (p. 40) Westerberg Olofsson. © The National Gallery, London. Bought, Cour- Nationalmuseum tauld Fund, 1924 (p. 42) Box 16176 Photographs © Stockholms Auktionsverk (p. 47) SE–103 24 Stockholm, Sweden Nationalmuseum Photographic Studio/ © Bukowskis, Stockholm (p. 94) www.nationalmuseum.se Linn Ahlgren, Olle Andersson, Erik Cornelius, © Thron Ullberg 2008 (p. 108) © Nationalmuseum, the authors and the owners Anna Danielsson, Cecilia Heisser, Bodil Karlsson © 2014, State Russian Museum, St. Petersburg of the reproduced works and Sofia Persson. (pp. 133–134) © Anhaltische Gemäldegalerie Dessau (pp. 138–139) Picture Editor © Museen der Stadt Bamberg (pp. 140 and 142) Rikard Nordström © Archive of Thomas Fusenig (p. 141) © Nordiska museet, Stockholm/Karolina Kristensson (pp. 148–149) Art Bulletin of Nationalmuseum Volume 21, 2014 4 acquisitions/scandinavian oil studies and a portrait Scandinavian Oil Studies and a Portrait Carl-Johan Olsson Curator, Paintings and Sculpture Fig. 1 Johan Christian Dahl (1788–1857), View Towards Vesuvius from a Terrace at Quisisana, 1820. Oil on canvas, 20 x 30 cm. Purchase: The Wiros Fund. Nationalmuseum, NM 7287. 23 Art Bulletin of Nationalmuseum Volume 21, 2014 acquisitions/scandinavian oil studies and a portrait In the past year, the Nationalmuseum firmly rooted in the Arcadian tradition of Johan Christian Dahl (1788–1857) was has acquired a number of strong works by the ideal landscape, it was considered im- born and grew up in Bergen in Norway. Scandinavian artists active in the first half portant for artists to familiarise themselves He decided early on to try his hand as a of the 19th century: a portrait by Chris- with the smallest components of nature professional artist, beginning his career as ten Købke, and oil studies of landscapes before, as it were, creating their own artis- an apprentice to a decorative painter. Af- by Constantin Hansen, Martinus Rørbye, tic versions of it from scratch. This they did ter that, since Norway had no art academy Thomas Fearnley, Johan Christian Dahl in oil studies. of its own at this point, Dahl had to travel and Peter Christian Skovgaard (attribu- On what grounds can an oil study be to Copenhagen. He remained in Denmark ted). The Museum already had some fine said to hold a unique position, giving it a for seven years, counting Christoffer Wil- examples of such pictures in its possession, particular attraction even to a present-day helm Eckersberg (1783–1853) among his but had long wished to supplement its col- observer? The explanation could concei- teachers. On completing his studies, Dahl lection so as to convey the full breadth of vably lie in the immediacy of the represen- would have preferred to return to his nati- a period whose importance is steadily gai- tation that became possible as artists star- ve Norway, but the prospects of making a ning recognition. Works from this period ted to work in oils directly in front of the living as an artist there were poor. Conse- are among those most sought after by mu- motif. They could now communicate, with quently, in September 1818 he left Copen- seums and private collectors alike – a fact a light hand and in colours that were true hagen for Dresden, where he planned his reflected, not least, in the way prices have to nature, their personal experience of first extended stay. He would eventually developed in recent decades. the landscape. What had previously been spend the rest of his life there, but that With the paintings now added to the depicted mainly topographically could is another story. Dahl had barely been in collection, the Nationalmuseum is able to now be formed into an image without ha- the city for two years before he set off on get across more clearly the significance of ving to exclude lighting and atmospheric a journey to Italy. In those two years, he the journeys to the south of Europe which effects. And as these studies were not pri- had become a close friend of Caspar Da- many artists embarked on in the first half marly intended to be either sold or shown vid Friedrich (1774–1840), and through of the 19th century. Their hope was that to the public, there was, equally, no need him got to know artists such as Carl Gustav such travels would foster their develop- to concern oneself with pictorial conven- Carus (1789–1869). Dahl’s close contacts ment to such a degree that they would be tions of any kind. The subjects, moreover, with the inner circle of German Roman- able to live by their art on their return. often seem to have been chosen for per- ticism would prove significant for his sub- Given the complicated and exceptional sonal reasons, primarily with what appears sequent creative output – not least for the nature of travel at that time, they set off to have been the eye of the enchanted tra- work he did in Italy, and perhaps, in parti- with highly sharpened senses, ready to be veller. That enchantment, we may assume, cular, for the study recently acquired by the assailed by a host of impressions of great partly explains the immense technical skill Nationalmuseum. Dahl left Dresden for Ita- intensity. En route, they documented their which many artists developed in their oil ly on 13 June 1820. The day before, he had experiences in drawings, oil studies and studies. Overwhelming encounters with married – a circumstance that would colour diary entries. The drawings and diaries are new views were a source of intense inspi- his Italian trip, making him intensely home- undeniably a rich and fascinating source ration, and the time aspect made the hand sick and causing him to return earlier than of information, but the oil studies hold a holding the brush – perhaps more than planned.2 unique interest in this context. ever before in art history – an extension of On 10 August Dahl arrived in Naples, Oil studies, in the sense used here, are the eye. The combination of enchantment travelling to Castellamare and the coun- studies painted in the open air.1 They have and naturalistic representation is probably try palace of Quisisana the following day. their origins, crucially, in the late 18th cen- the reason these studies often came to be He had been invited to the palace as the tury, when French artists, led by Pierre-Hen- regarded as valuable souvenirs, kept by the guest of the Danish crown prince Christi- ri de Valenciennes (1750–1819), began pa- artists for the rest of their lives. It may also an Frederick. Dahl had become acquain- inting in oils en plein air. The aim was not explain why the experience they convey ted with the prince during his student days to produce finished works, but to gather seems intact to the modern-day viewer. in Copenhagen, and the two had also met material for use in the studio. In these stu- The first three paintings that will be in Dresden. The first day of his visit Dahl dies, the artists focused either on details considered here are precisely such ima- was alone at Quisisana, as the prince and such as vegetation and rock formations, or ges from travels to the South. They depict his court were visiting Naples. He spent on views recorded in different lights and tourist attractions that were either visited the day painting the view from his room, atmospheric conditions. Although the fi- during extended stays or passed along the seen through the window frame (Fig. 2).3 nished works were, at the time, still quite way. The small view which the Nationalmuseum Art Bulletin of Nationalmuseum Volume 21, 2014 24 acquisitions/scandinavian oil studies and a portrait has now acquired is dated 16 August, which means that Dahl painted it on his sixth day, or rather evening, at Quisisana (Fig.
Load more

Recommended publications
  • Daxer & Marschall 2015 XXII
    Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century.
    [Show full text]
  • Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
    Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities.
    [Show full text]
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • Myth–Making and Identities Studies in the Long Nineteenth Century, Vol 2
    The Idea of North Myth–Making and Identities Studies in the Long Nineteenth Century, vol 2. Publisher: The Birch and the Star – Finnish Perspectives on the Long 19th Century ©The Birch and the Star and the authors. All rights reserved. Editors: Frances Fowle and Marja Lahelma Designer: Vilja Achté Cover illustration: Vilja Achté Helsinki 2019 ISBN: 978-952-94-1658-5 www.birchandstar.org Contents Preface Frances Fowle and Marja Lahelma 4 Introduction: Conceptualising the North at the Fin de Siècle Frances Fowle and Marja Lahelma 5 Sámi, Indigeneity, and the Boundaries of Nordic National Romanticism Bart Pushaw 21 Photojournalism and the Canadian North: Rosemary Gilliat Eaton’s 1960 Photographs of the Eastern Canadian Arctic Danielle Siemens 34 Quaint Highlanders and the Mythic North: The Representation of Scotland in Nineteenth Century Painting John Morrison 48 The North, National Romanticism, and the Gothic Charlotte Ashby 58 Feminine Androgyny and Diagrammatic Abstraction: Science, Myth and Gender in Hilma af Klint’s Paintings Jadranka Ryle 70 Contributors 88 3 This publication has its origins in a conference session and assimilations of the North, taking into consideration Preface convened by Frances Fowle and Marja Lahelma at the issues such as mythical origins, spiritual agendas, and Association for Art History’s Annual Conference, which notions of race and nationalism, tackling also those aspects took place at the University of Edinburgh, 7–9 April 2016. of northernness that attach themselves to politically sensitive Frances Fowle and The vibrant exchange of ideas and fascinating discussions issues. We wish to extend our warmest thanks to the authors during and after the conference gave us the impetus to for their thought-provoking contributions, and to the Birch continue the project in the form of a publication.
    [Show full text]
  • Acquisitions for the Reopened Nationalmuseum, Stockholm, 2011
    Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 1 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 2 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 3 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 ork on the newly refurbished Nationalmuseum, was a clear educational and art-historical endeavour in the Museum’s Stockholm, which reopens to the public on 13th acquisitions policy, centred on notions of styles and periods, gradually this October, has built on three simultaneous and faded away in favour of a focus on aesthetic experience alone. The solitary parallel projects: renovation and remodelling of artistic genius was seen as supplying material for a dramatic narrative, Wthe building, a new display of the collection and against a backdrop built increasingly around individual masterpieces. new acquisitions. Alongside transforming the old building into a museum that is tter for purpose and more secure, Sleeper awakened by a young woman with a lit wick, or Il Fumacchio, considerable energy has gone into making the collections more accessible. by Nicolas Régnier. c.1622–25. Canvas, 101 by 133 cm. This has involved both showing well-known works from the collections Gift of the Friends of the Nationalmuseum, 2011. NM 7077. in a new way and rediscovering others that, for one reason or another, had fallen into obscurity. This scene of ribaldry was presumably invented by Régnier, a Franco-Flemish A review of the extensive holdings of the Nationalmuseum highlighted Caravaist. A courtesan plays a prank on a handsome young prodigal who has dozed a number of gaps.
    [Show full text]
  • European Revivals from Dreams of a Nation to Places of Transnational Exchange
    European Revivals From Dreams of a Nation to Places of Transnational Exchange EUROPEAN REVIVALS From Dreams of a Nation to Places of Transnational Exchange FNG Research 1/2020 Akseli Gallen-Kallela, Illustration for the novel, Seven Brothers, by Aleksis Kivi, 1907, watercolour and pencil, 23.5cm x 31.5cm. Ahlström Collection, Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Hannu Aaltonen European Revivals From Dreams of a Nation to Places of Transnational Exchange European Revivals From Dreams of a Nation to Places of Transnational Exchange European Revivals. From Dreams of a Nation to Places of Transnational Exchange FNG Research 1/2020 Publisher Finnish National Gallery, Helsinki Editors-in-Chief Anna-Maria von Bonsdorff and Riitta Ojanperä Editor Hanna-Leena Paloposki Language Revision Gill Crabbe Graphic Design Lagarto / Jaana Jäntti and Arto Tenkanen Printing Nord Print Oy, Helsinki, 2020 Copyright Authors and the Finnish National Gallery Web magazine and web publication https://research.fng.fi/ ISBN 978-952-7371-08-4 (paperback) ISBN 978-952-7371-09-1 (pdf) ISSN 2343-0850 (FNG Research) Table of Contents Foreword .................................................................................................. vii ANNA-MARIA VON BONSDORFF AND RIITTA OJANPERÄ VISIONS OF IDENTITY, DREAMS OF A NATION Ossian, Kalevala and Visual Art: a Scottish Perspective ........................... 3 MURDO MACDONALD Nationality and Community in Norwegian Art Criticism around 1900 .................................................. 23 TORE KIRKHOLT Celticism, Internationalism and Scottish Identity: Three Key Images in Focus ...................................................................... 49 FRANCES FOWLE Listening to the Voices: Joan of Arc as a Spirit-Medium in the Celtic Revival .............................. 65 MICHELLE FOOT ARTISTS’ PLACES, LOCATION AND MEANING Inventing Folk Art: Artists’ Colonies in Eastern Europe and their Legacy .............................
    [Show full text]
  • Conceptualising the North at the Fin De Siècle Frances Fowle and Marja Lahelma
    Towards the end of the nineteenth century, the idea of its inhabitants, and that the art world of the period was Introduction: North was becoming worryingly enmeshed with issues of deeply affected by these debates. The remaining essays in race and national character, and these ideological debates this special volume expand and develop this analysis of Conceptualising the North affected the art world on many levels. The surge of cultural northernness from a multitude of perspectives, focusing in revivals that swept across Europe in the 1890s brought particular on Nordic, Scottish, and Canadian visual culture. at the Fin de Siècle questions of national identity to the foreground, while in the field of social anthropology debates were raging RE-INSTATING THE CELTS about the superiority of one ethnic group over another. In 1858 the Reverend Duncan McCallum observed: “That This phenomenon, which was fuelled at least in part by the ancient Scots were of Celtic origin is past all doubt,” Frances Fowle and the publication of Darwin’s On the Origin of Species adding that “the Celtae, the great and mighty people [were] (1859), is reflected in Joseph Deniker’s 1899 map of the altogether distinct from the Goths and Teutones.”2 Celticism Marja Lahelma races of Europe showing a patchwork of “principal” and was associated with specific parts of Britain, Ireland and “secondary” racial groups (fig. 1). The French anthropologist northern France. The Irish ethnologist Augustus Henry and naturalist was one among many fin-de-siècle scientists Keane (1833–1912), for example, defined the “Keltic fringe” who attempted to create a system of racial classification based as “the strips of territory on the skirts of the Teutonic and on physical characteristics.
    [Show full text]
  • The North, National Romanticism, and the Gothic Charlotte Ashby
    The North, National The wild and widely changeable nature in the (1844–1899) was and remains excluded from the canon. North does not accommodate the painter like the His oeuvre, revolving around the fishing communities of harmonious nature in France. The former does not, the west coast and Finnish archipelago, represented the Romanticism, like the latter, offer the artist ready-made motifs like wrong Finland and the wrong (Swedish-speaking) Finns ripe fruit[…] In France a landscape painter may for a national movement that located itself in the central and the Gothic perhaps be an artist using only his eyes. [… ]In the and eastern Finnish lakelands.2 Alternatively, women artists North the landscape painter must be a poet.1 in general are frequently excluded from the canon and regarded as too open to foreign influences.3 The emphasis within art histories of Nordic landscapes Charlotte Ashby has traditionally been on topography, landmarks, light For a number of decades now, art history of the Nordic and nature. In all these dimensions the touchstone has region has been pushing back against the parameters, been the oppositional binary between North and South, as early-established in traditional national canons. Art History exemplified in the quote from Richard Bergh above. In this as a discipline emerged in the nineteenth century in close paradigm the South is an Arcadian realm, bathed in an easy, connection with linguistics, ethnography and archaeology, golden light, whilst the North is harsh in its extremes and its all guided by a pursuit of a distinctive national language light alternatively too stark or too dull for the purposes of and/or culture.
    [Show full text]
  • Exhibition Checklist
    Sixth Street and Constitution Avenue NW, Washington, DC | nga.gov Mailing address: 2000 South Club Drive, Landover, MD 20785 Updated 9/14/2021 at 4:27:49 PM True to Nature: Open-Air Painting in Europe, 1780–1870 Feb 2–Nov 29, 2020 Press Release: https://www.nga.gov/press/exhibitions/exhibitions-2019/5175.html Order Press Images: https://www.nga.gov/press/exhibitions/exhibitions-2019/5175/images.html Press Contact: Isabella Bulkeley phone: (202) 842-6864 e-mail: [email protected] Cat. No. 1 / Object ID: 5175-121 Fleury François Richard (Fleury-Richard) Artiste en costume Renaissance dessinant dans les arènes de Nîmes/ An Artist in a Renaissance Costume Sketching in the Arena of Nîmes, 1822 (?) oil on paper, mounted on canvas paper: 32.4 x 24.4 cm (12 3/4 x 9 5/8 in.) cardboard: 33.8 x 26 cm (13 5/16 x 10 1/4 in.) framed: 45 x 37.5 x 41.2 cm (17 11/16 x 14 3/4 x 16 1/4 in.) Private Collection, London Cat. No. 2 / Object ID: 5175-016 Jules Coignet View of Bozen with a Painter, 1837 oil on paper, mounted on canvas overall: 31 x 39 cm (12 3/16 x 15 3/8 in.) framed: 43.8 x 51.4 x 5.1 cm (17 1/4 x 20 1/4 x 2 in.) National Gallery of Art, Washington, Gift of Mrs. John Jay Ide in memory of Mr. and Mrs. William Henry Donner Cat. No. 3 / Object ID: 5175-035 Théodore Caruelle d' Aligny Young Man Reclining on the Downs, 1833 - 35 oil on paper, mounted on canvas overall: 21.6 x 45.2 cm (8 1/2 x 17 13/16 in.) The Syndics of the Fitzwilliam Museum, University of Cambridge (C) The Fitzwilliam Museum, Cambridge Cat.
    [Show full text]
  • Jean-François Heim and Marcus Marschall Have Pleasure in Inviting You to the Private View of Their Exhibition Un Désir D'ita
    Jean-François Heim and Marcus Marschall Jean-François Heim und Marcus Marschall freuen sich, have pleasure in inviting you Sie anlässlich der gemeinsamen Ausstellung to the private view of their exhibition Un désir d’Italie Un désir d’Italie at Galerie Jean-François Heim, Paris in der Galerie Jean-François Heim in Paris zu empfangen. on Wednesday, 3 June at 5pm Vernissage am Mittwoch, den 3. Juni 2009 ab 17 Uhr, in the frame of Nocturne Rive Droite, www.art-rivedroite.com im Rahmen der Nocturne Rive Droite, www.art-rivedroite.com The exhibition runs from 4 June to 3 July 2009 Die Ausstellung läuft von 4. Juni - 3. Juli 2009, Monday to Friday, 10am - 1pm and 2 - 6pm, and by appointment Montag bis Freitag 10 - 13 und 14 - 18 Uhr, und nach Vereinbarung Galerie Jean-François Heim Galerie Jean-François Heim 134, rue du Faubourg Saint-Honoré · F-75008 Paris 134, rue du Faubourg Saint-Honoré · F - 75008 Paris Tel. + 33 (0)1 53 75 06 46 · [email protected] Tel. +33 (0) 1 53 75 06 46 · [email protected] Works can be viewed on our website: www.daxermarschall.com Besuchen Sie vorab auch unsere homepage www.daxermarschall.com Oswald Achenbach (1827 - Düsseldorf - 1905) The Moonlit Bay of Naples with Mount Vesuvius in the Background , 1886 Oil on paper, mounted on panel signed and dated lower right OA 1886 24 x 31.7 cm Literature: Potthoff, Mechthild, Oswald Achenbach. Sein künstlerisches Wirken zur Hochzeit des Bürgertums. Studien zu Leben und Werk, Cologne-Berlin 1995; Sitt, Martina, Ed., Andreas und Oswald Achenbach, das ‚A’ und ‚O’ der Landschaft, exhib.
    [Show full text]
  • 11. November 2009 Beispielgebende Traumbilder, Experimentierende Bildformen: Phantasmen, Religi√∂Se Visionen, Imagination, Groteske, Angst-Alb-Entsetzen //Abb
    11. November 2009 Beispielgebende Traumbilder, experimentierende Bildformen: Phantasmen, religiöse Visionen, Imagination, Groteske, Angst-Alb-Entsetzen //Abb. Nr. 51-129// 51. Salvador Dali, Weisse Konstruktion mit jüdischen Eintöpfen (Vorahnungen des Bürgerkriegs), 1936 52. Peter Paul Rubens, Der hl. Ignatius von Loyola heilt die Besessenen, um 1620 53. El Greco, Verkündigung, um 1596 54. Oscar Dominguez, Elektrosexuelle Nähmaschine, 1934 55. Leonardo da Vinci, Szene der Sintflut, um 1490 56. Salvador Dali, Mann mit dem Kopf voller Wolken, 1936 57. El Greco, Die heilige Dreifaltigkeit, 1577-79 58. Angel Planells, Die vertrauten (oder auch: familiären, familialen) Phantasmen, 1932 59. Leonardo da Vinci, Sturm 60. Leonardo da Vinci, Karte des Arno-Tals in der Nähe von Pisa 61. Michelangelo, Detail: Schreckensvision, aus: Das jüngste Gericht, Sixtina, um 1530 62. Vittore Carpaccio (1464-1525/6), Der Traum der heiligen Ursula, 1495 63. Vittore Carpaccio, Junger Ritter in Landschaft 64. Pellegrino Tibaldi, Heiliger Michael, 1592 65. El Greco, Laokoon, 1610-1614 66. Karl Blechen (1798-1840), Galgenberg bei Gewitterstimmung, ca. 1835 67. Caspar David Friedrich (1774-1840), Blick vom Rugard bei Bergen nach Osten, ca. 1806 68. Caspar David Friedrich, Mondaufgang am Meer 69. Caspar David Friedrich, Nordirische See bei Mondlicht 70. Carl Gustav Carus (1789-1869), Boot im Eis 71. Carl Gustav Carus, Brandung bei Rügen, 1819 72. Carl Gustav Carus, Blick auf Dresden bei Sonnenuntergang, 1822 73. Carl Gustav Carus, Die Dreisteine im Riesengebirge, 1826 74. Carl Gustav Carus, Mondnacht über der Ruine Eldena 75. Carl Gustav Carus, Steinzeitwall bei Nobbin auf Rügen, 1819 76.
    [Show full text]
  • Peter Nicolai Arbo and Artistic Hybridity in the Nineteenth-Century
    THE WILD HUNT FOR NORWAY: PETER NICOLAI ARBO AND ARTISTIC HYBRIDITY IN THE NINETEENTH-CENTURY by Dani Kathleen Barrett Huvaere A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Art History MONTANA STATE UNIVERSITY Bozeman, Montana April 2018 ©COPYRIGHT by Dani Kathleen Barrett Huvaere 2018 All Rights Reserved ii DEDICATION To Josh and Nick. Be well in Valhalla, old friends. iii ACKNOWLEDGEMENTS I would like to thank all those who helped and encouraged me throughout my research. Thank you to the National Museum’s Old Masters and Modern Arts Director Nils Ohlsen for accommodating my last-minute request. Thank you to the library team at the National Museum Library in Oslo, Curator Anita Kongssung and Special Librarian Hildegunn Gullåsen, your help and kindness was invaluable. Thank you to Martin Raddum, the Storage Supervisor for the National Museum, you made my dream come true. Thank you to Charis Gullickson for your advice and help. I would also like to give a heartfelt thank you to my committee, Dr. Todd Larkin, Dr. Regina Gee, and Dr. Melissa Ragain, for supporting me throughout my graduate education. Thank you to School of Art Director Vaughan Judge for funding my research in Norway. Finally, I would like to thank my family and friends, and thank you to my husband, Chris, who has been nothing but supportive. iv TABLE OF CONTENTS 1. GINNUNGAGAP: INTRODUCTION ............................................................................1 2. NORTHMAN: ARBO IN RELATION TO NINETEENTH- CENTURY NORWAY ....................................................................................................4 3. GOTH AND GAUL: ARTISTIC PRECEDENCE IN DÜSSELDORF AND PARIS ..................................................................................................................16 Düsseldorf Kunstakademie ............................................................................................16 In the Shadow of the École des Beaux-Arts ..................................................................24 4.
    [Show full text]