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Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Imperceptible Realities: An exhibition – and – Digitalisation: Re- imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis Sarah Robinson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Printmaking Commons Recommended Citation Robinson, S. (2017). Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis. https://ro.ecu.edu.au/theses/1981 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1981 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
A Young Boy in a Plumed Cap Black Chalk, with Traces of Red Chalk, and Framing Lines in Brown Ink
Jacob Adriaensz. BACKER (Harlingen 1608 - Amsterdam 1651) A Young Boy in a Plumed Cap Black chalk, with traces of red chalk, and framing lines in brown ink. Signed Backer. at the lower right. 168 x 182 mm. (6 5/8 x 7 1/8 in.) This charming drawing is a preparatory study for the pointing child at the extreme left of Jacob Backer’s Family Portrait with Christ Blessing the Children, a painting datable to c.1633-1634. This large canvas was unknown before its first appearance at auction in London in 1974, and is today in a private collection. The present sheet is drawn with a vivacity and a freedom in the application of the chalk that is stylistically indebted to Rembrandt’s chalk drawings of the same period, namely the early 1630s. Drawings executed in black chalk alone are rare in Backer’s oeuvre, but this drawing may be compared in particular to a signed and dated Self-Portrait in black chalk by Backer of 1638, in the Albertina in Vienna. A black chalk study of A Man in a Turban, in the Boijmans-van Beuningen Museum in Rotterdam, may also be likened to the present sheet. Provenance: Probably by descent to the artists’s brother, Tjerk Adriaensz. Backer, Amsterdam Iohan Quirijn van Regteren Altena, Amsterdam (his posthumous sale stamp [Lugt 4617] stamped on the backing sheet) Thence by descent. Literature: Werner Sumowski, Drawings of the Rembrandt School, Vol.I, New York, 1979, pp.20-21, no.3 (where dated to the mid-1630s), and also pp.46-47, under nos.16x and 17x, p.52, under no.19x and p.54, under no.20x; Werner Sumowksi, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, Vol.I, p.203, under no.72; Peter van den Brink, ‘Uitmuntend Schilder in het Groot: De schilder en tekenaar Jacob Adriansz. -
The Leiden Collection Catalogue, 3Rd Ed
Govaert Flinck (Kleve 1615 – 1660 Amsterdam) How to cite Bakker, Piet. “Govaert Flinck” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/govaert- flinck/ (accessed September 27, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Govaert Flinck Page 2 of 8 Govaert Flinck was born in the German city of Kleve, not far from the Dutch city of Nijmegen, on 25 January 1615. His merchant father, Teunis Govaertsz Flinck, was clearly prosperous, because in 1625 he was appointed steward of Kleve, a position reserved for men of stature.[1] That Flinck would become a painter was not apparent in his early years; in fact, according to Arnold Houbraken, the odds were against his pursuit of that interest. Teunis considered such a career unseemly and apprenticed his son to a cloth merchant. Flinck, however, never stopped drawing, and a fortunate incident changed his fate. According to Houbraken, “Lambert Jacobsz, [a] Mennonite, or Baptist teacher of Leeuwarden in Friesland, came to preach in Kleve and visit his fellow believers in the area.”[2] Lambert Jacobsz (ca. 1598–1636) was also a famous Mennonite painter, and he persuaded Flinck’s father that the artist’s profession was a respectable one. Around 1629, Govaert accompanied Lambert to Leeuwarden to train as a painter.[3] In Lambert’s workshop Flinck met the slightly older Jacob Adriaensz Backer (1608–51), with whom he became lifelong friends. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before
FRANS JANSZ. POST (c. 1612 – Haarlem - 1680) A Landscape in Brazil Signed, lower left: F. POST On panel, 8 x 10½ ins. (20.3 x 26.6 cm) Provenance: European private collection By descent within the family since the eighteenth century Literature: Q. Buvelot, ‘Review of P. and B. Correa do Lago, Frans Post, 1612- 1680; ‘catalogue raisonné, in The Burlington Magazine, vol. CL, no. 1259, February 2008, p. 117, n. 2 VP4713 The Haarlem painter Frans Post occupies a unique position in Dutch seventeenth-century art. The first professionally trained European artist to paint the landscape of the New World, as far as we know, he devoted his entire production to views of Brazil. In 1630, the Dutch seized control of the Portuguese settlement in north-eastern Brazil. The young Prince Johan Maurits of Nassau-Siegen (1604-1679) was appointed Governor General of the new territory and charged with establishing a secure footing for the Dutch West India Company. On 25 October 1636, he set sail for South America accompanied by a team of artists and scientists, including the landscapist Frans Post and the figure painter Albert Eckhout (c. 1610-1665). The expedition arrived at Recife in January the following year. Post remained there for seven years, during which time he made a visual record of the flora and fauna, as well as the topography of the region, before returning to the Netherlands in 1644. Yet of the many paintings and drawings made during his South American sojourn, only seven paintings and a sketchbook, preserved in the Scheepvaart Museum, in Amsterdam, survive today. -
20-A Richard Diebenkorn, Cityscape I, 1963
RICHARD DIEBENKORN [1922–1993] 20a Cityscape I, 1963 Although often derided by those who embraced the native ten- no human figure in this painting. But like it, Cityscape I compels dency toward realism, abstract painting was avidly pursued by us to think about man’s effect on the natural world. Diebenkorn artists after World War II. In the hands of talented painters such leaves us with an impression of a landscape that has been as Jackson Pollack, Robert Motherwell, and Richard Diebenkorn, civilized — but only in part. abstract art displayed a robust energy and creative dynamism Cityscape I’s large canvas has a composition organized by geo- that was equal to America’s emergence as the new major metric planes of colored rectangles and stripes. Colorful, boxy player on the international stage. Unlike the art produced under houses run along a strip of road that divides the two sides of the fascist or communist regimes, which tended to be ideological painting: a man-made environment to the left, and open, pre- and narrowly didactic, abstract art focused on art itself and the sumably undeveloped, land to the right. This road, which travels pleasure of its creation. Richard Diebenkorn was a painter who almost from the bottom of the picture to the top, should allow moved from abstraction to figurative painting and then back the viewer to scan the painting quickly, but Diebenkorn has used again. If his work has any theme it is the light and atmosphere some artistic devices to make the journey a reflective one. of the West Coast. -
Recent Acquisitions (2006–20) at the Mauritshuis, the Hague
Recent acquisitions (2006–20) at the Mauritshuis, The Hague Supplement COVER_NOV20.indd 1 09/11/2020 09:41 Recent acquisitions (2006–20) at the Mauritshuis, The Hague he royal picture gallery mauritshuis in The 1. Paintings by Nicolaes Berchem reunited at the Mauritshuis. Hague is often likened to a jewellery box that contains (Photograph Ivo Hoekstra). nothing but precious diamonds. Over the past fifteen BankGiro Lottery and the Rembrandt Association, as well as individual years the museum has continued to search for outstanding benefactors, notably Mr H.B. van der Ven, who has helped the museum time works that would further enhance its rich collection of and again. That the privatised Mauritshuis – an independent foundation Dutch and Flemish old master paintings. A director who since 1995 – benefits from private generosity is proved by a great many wants to make worthwhile additions to a collection of such quality must gifts, including seventeenth-century Dutch landscapes by Jacob van Geel Taim very high indeed. The acquisitions discussed here were made during (Fig.5) and Cornelis Vroom (Fig.4), as well as works from the eighteenth the directorship of Frits Duparc, who in January 2008 retired as Director century: a still life by Adriaen Coorte (Fig.2) and a portrait of a Dutch after seventeen years at the museum, and his successor, Emilie Gordenker, sitter by the French travelling artist Jean-Baptiste Perronneau (Fig.16). who earlier this year left the Mauritshuis for a position at the Van Gogh New acquisitions are also supported by numerous other foundations and Museum, Amsterdam. The present Director of the Mauritshuis, Martine funds, all mentioned in the credit lines of individual works. -
Northern Italianate Landscape Painters
Northern Italianate Landscape Painters ... Northern artists had long spent time in Italy – hence the work of Pieter de Kempeneer (1503-1580) (Room 9) and Frans Floris (1516-1570) in the sixteenth century, who drew their inspiration from the Antique and contemporary masters. Landscape painters Paul Bril (1554-1626) and Adam Elsheimer (1574/78-1610/20) (Room 10), settled there from the end of the sixteenth century and were to influence the Italian school profoundly. However, from around 1620, the Northern Diaspora gave rise to a novel way of representing the towns and countryside of Italy. Cornelis van Poelenburgh (1595/96-1667) went to Rome in 1617 and around 1623 was among the founder members of the Bentvueghels “birds of a feather”, an association of mutual support for Northern artists, goldsmiths and “art lovers” – not only Flemish and Dutch, but Room also Germans and even a few French. He painted shepherds in the ruins and plains of Latium where the harsh light creates strong shadows. Around 1625, the Dutch painter Pieter van Berchem Laer (1599-1642 ?), nicknamed Il Bamboccio, invented the bambocciate, a different take on Caravaggesque scenes of realism showing moments of contemporary Italian low-life in ... the open air and bringing a modern feel to the subject matter. The bambocciate met with considerable success. Flemish and From these two trends – pastoral landscapes suffused with light, and racy at times Dutch Painting vulgar scenes of daily life – was to develop a whole chapter in European painting, dominated by Northern artists but also marked by Italians such as Michelangelo Cerquozzi (1602-1660) and French painters like Sébastien Bourdon (1616-1671). -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
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. -
Light and Sight in Ter Brugghen's Man Writing by Candlelight
Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca.