ARTS 4375 NORTHERN RENAISSANCE ART Fall 2020 Jill
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Vincent Sellaer
VINCENT SELLAER (active in Malines before 1538 - after 1544) The Holy Kinship oil on panel 94.6 x 108.6 cm (37¼ x 42¾ in) Provenance: Anonymous sale, New York, Sotheby’s, January 17th, 1992, lot 109, for $29,000, to Mrs. O. D. Cavatore, Texas; from whose estate acquired by a private New England Collector. HIS SUBTLY ANIMATED AND BEAUTIFULLY rendered scene of The Holy Kinship, demonstrates many of the stylistic traits and the originality for which Vincent Sellaer is held in such regard. The Virgin sits with her back to the viewer but leans around in order to display the Christ Tchild. Watching over the mother and child are the figures of St. Joseph and St. Elizabeth. The presence of St. Elizabeth suggests that one of the three other infants may be her son St. John the Baptist, most likely the boy dressed in green standing closest to Christ. The other two infants are likely to be cousins of Christ, although their exact identities cannot be identified due to the lack of attributes. The three adult saints all bear sober and pensive expressions; St. Margaret in particular bears a sombre expression as she stares at the Christ child, contemplating his future sacrifice. In comparison the infants are much more playful; three of them cheerfully play amongst themselves whilst a fourth climbs onto the Virgin’s back and this figure is the only one who directly meets the viewer’s eye, thus engaging us with the scene. ‘The Holy Kinship’ was a theme that flourished in Northern Vincent Sellaer, The Holy Family with the Infant St. -
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. -
Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum
La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 3-1984 Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum Brother Daniel Burke FSC Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Burke, Brother Daniel FSC, "Lucas Van Leyden: Prints from the Testaments" (1984). Art Museum Exhibition Catalogues. 74. http://digitalcommons.lasalle.edu/exhibition_catalogues/74 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Lucas van Leyden Prints Frcm The Testaments LaSalle College Art Museum March 1 - April 30, 1984 For many years, students of In. Salle College had the privilege of pursuing a course in the history of graphic art at the Alverthorpe Gallery in nearby Jenkintown. Lessing Rosenwald himself would on occasion join our Professor Ihomas Ridington or Herman Gundersheimer and the students for an afternoon with Rerrbrandt, Durer, or Lucas van Leyden. After Mr. Rosenwald's death and the transfer of his collection to the National Gallery of Art in Washington, the course had to be pursued, it need hardly be said, in much reduced circunstances. But the present exhibition, which returns many of Mr. Rosenwald's Lucas van Leyden prints from the National Gallery to the Rosenwald Roc*n in the La Salle Museum, recreates briefly for us the happy circumstances of earlier, halcyon days. -
The Phenomenon of Abstraction and Concretization
Abstraction and Concretization Of the Fruit of the Tree of Knowledge of Good and Evil As Seen Through Biblical Interpretation and Art Alyssa Ovadis Department of Jewish Studies Faculty of Arts McGill University, Montreal April 2010 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts © Alyssa Ovadis 2010 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-68378-1 Our file Notre référence ISBN: 978-0-494-68378-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
First Line of Title
MADE IN THE AMERICAS? DECIPHERING THE ENIGMA OF THE MANO PODEROSA by Karla Francheska Torres Avilés A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Art History Spring 2011 Copyright 2011 Karla Francheska Torres Avilés All Rights Reserved MADE IN THE AMERICAS? DECIPHERING THE ENIGMA OF THE MANO PODEROSA by Karla Francheska Torres Avilés Approved: __________________________________________________________ Mónica Domínguez Torres, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Nina M. Athanassoglou-Kallmyer, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Charles G. Riordan, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS I would like to dedicate this thesis to an exemplary human being, my Abuelo, Edwin Torres-Seda. Without his constant support and love, I would have never been able to fulfill my dreams of pursuing a graduate degree. He is truly an inspiration and I wish to express my deepest gratitude from the bottom of my heart. ¡Gracias Abuelo! I am personally indebted to everyone at the Department of Art History at the University of Delaware for providing the tools and knowledge required for me to excel in this field. My academic adviser, Dr. Mónica Domíguez Torres, has been instrumental in my professional growth. I wish to thank her for her academic support and for helping me overcome various hurdles in my graduate career. I am also extremely grateful to Dr. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Arth310fa2013syllabus.Pdf
************************************************************ ARTH310: Painting and Presence Theory of the Image, 1350-1550 12:40-2:10 TR [email protected] office hours: MWF noon-3 p.m. TR 8-10 a.m. and by appointment ************************************************************ The Goal: “Als Ich Kan” (As I Can: the best that I can) reads the top of the painting’s frame. Who, or what, is the I? And what is it that it is striving to do? A clue in the words at the bottom: “Jan van Eyck made me Year 1433 21 October.” So is it the painting that speaks? Or perhaps the Man in the Red Turban whose penetrating stare holds us? What does it mean for a painting to speak, to be present? What does it mean for a face, a person, an identity to be present through painting? This course seeks to understand painting’s ability to evoke presence in the late Middle Ages. How does it do so? Whose presence? What are the differences between divine and human presence? These questions are pressing in this period of theological controversy (the rise of Protestantism and the defense of Catholicism), artistic innovation (the emergence of portraiture and oil painting), and scientific discovery (the adaptation of perspective and the camera obscura). We will consider the roles that materiality, perspective, ritual, devotion, salvation, originality, verisimilitude and beauty played in this chapter of the history of the image – a chapter that our modern desires for authenticity in art indicate is still being written. Together, we will explore and analyze the theory of the image in its haunting and lasting ability to make the absent present, the invisible visible, and the abstract available. -
Rolin Madonna" and the Late-Medieval Devotional Portrait Author(S): Laura D
Surrogate Selves: The "Rolin Madonna" and the Late-Medieval Devotional Portrait Author(s): Laura D. Gelfand and Walter S. Gibson Source: Simiolus: Netherlands Quarterly for the History of Art, Vol. 29, No. 3/4 (2002), pp. 119-138 Published by: Stichting voor Nederlandse Kunsthistorische Publicaties Stable URL: http://www.jstor.org/stable/3780931 . Accessed: 17/09/2014 15:52 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Stichting voor Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art. http://www.jstor.org This content downloaded from 146.201.208.22 on Wed, 17 Sep 2014 15:52:43 PM All use subject to JSTOR Terms and Conditions I 19 Surrogateselves: the Rolin Madonna and the late-medieval devotionalportrait* LauraD. Gel/andand Walter S. Gibson TheMadonna of Chancellor Rolin (fig. i), paintedby Jan vanEyck omitted in thefinal painting, for what reason van Eyckabout I435, has longattracted great interest, we can onlyspeculate.3 Hence, it has been generally notonly for its spellbinding realism and glowingcolor, supposedthat Rolin's pious demeanor, his prayer book, butalso for the chancellor's apparent temerity in having and his audiencewith the Queen of Heaven and her himselfdepicted as prominentlyas the Virginand Child representlittle more than an elaborateeffort at Child,kneeling in their presence unaccompanied by the self-promotiondesigned to counter the negative reputa- usualpatron saint. -
Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ... -
Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe—from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical. -
ART 445.001 / 545.001 NORTHERN RENAISSANCE ART Fall 2015 Jill
ART 445.001 / 545.001 NORTHERN RENAISSANCE ART Fall 2015 Jill Carrington [email protected] (use instead of D2L email), tel. 936-468-4351; Office 117 across from the kitchen. Office hours: TR 11:00 – 12:00; MWF 11:00 – 11:40; MW 4:00 – 5:00; other times by appt. Class meets TR 2:00 – 3:15 in Room 106. Course Description: European art north of the Alps from 1300 to 1600. The course generally focuses on painting and the development of printmaking. Course objectives: 1. develop written communication skills and critical thinking skills; 2. research aspects important to the art of Dallas-area painter Vera Barnett; 3. produce a narrative about selected works by Barnett that will be exhibited at SFA’s Griffith Gallery (March 30 – May 6) and Cole Art Center’s Reception Gallery (March 30 – June 11). The narratives will promote viewers’ understanding of the art works and enhance their understanding of the artist; 1) recognize major Northern Renaissance artists and their works; 2) comprehend the character of Northern art as a whole as distinct from Italian art; 3) analyze religious, mythological and allegorical iconography. Program Learning Outcomes for art history majors: The mission of the BA in Art History program is to initiate a life-long involvement with the visual arts, both through classroom and extramural activities. The BA program provides sound preparation for graduate work in art history, museum studies, cultural studies, or gender studies. Undergraduate students completing the BA Program in Art History will be able to: a) use the historical framework and terminology of Western art; b) employ methods of analysis and interpretation of works of art; c) conduct art historical research involving logical and insightful analysis of secondary literature. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 Permalink https://escholarship.org/uc/item/6r20h5s3 Author Kelly, Jessen Lee Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Whitney Davis Professor Niklaus Largier Fall 2011 © 2011, by Jessen Lee Kelly All rights reserved. Abstract Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly Doctor of Philosophy in History of Art University of California, Berkeley Professor Elizabeth Honig, Chair This dissertation examines the relationships between chance and visual culture during the Northern Renaissance, focusing on the use of images in the deliberate, ritualized application of chance in games and divination. I argue that, prior to the development of probability theory in the seventeenth century, images served a critical function in encountering and negotiating uncertainties about the future. The casting of lots for prognostication and play was nothing new in the fifteenth and sixteenth centuries. Yet, aided in part by the growing print industry, the period witnessed the development of new and varied forms for these practices, forms that were increasingly pictorial in character.