Supporters Newsletter Newsletter 2021

Total Page:16

File Type:pdf, Size:1020Kb

Supporters Newsletter Newsletter 2021 Newsletter FOR SUPPORTERS OF THE HOLBURNE MUSEUM SPRING 2021 LONGFORD CASTLE VISIT: Saturday 4th September 2021 NICHOLAS POPE: CANALETTO: new sculpture PAINTING VENICE display opens exhibition opens May 2021 May 2021 2 WWW.HOLBURNE.ORG/SUPPORT-US Contents Specialist gardening advice 2 Front cover images Top left: Sir Joshua Reynolds, (1723 - 1792) Jonno’s letter 3 The Honourable Anne Duncombe c.1786, oil on canvas, A message from Chris Stephens 4 © Longford Castle Collection Holburne Insights: re-opening the Museum 6 Top right: Exterior view of Longford An appreciation of Dr Marianna Clark 7 Below left: Nicholas Pope (1949 - ) Mini-poster for Plant Sale on 9th May 2021 8 Mr & Mrs Pope vased and flowered, 2016, glass, h.41cm flowers not included Learning and engagement: update 10 © Nicholas Pope, Pope Collection. Courtesy of the artist; Inspired by Canaletto: A Venetian-themed quiz 11 photograph by David Williams (NB answers are on p.13) Below right: Giovanni Antonio Canal, Canaletto: Painting Venice 12 called Canaletto (1697 - 1768) The Entrance to the Grand Canal, Holburne Insights: redisplay of the Plantation Day Book 14 with the Dogana and the Church of Santa Maria della Salute (detail) Longford Castle visit: Saturday 4th September 2021 15 1731-36, oil on canvas, © From the Woburn Abbey Collection Forthcoming new exhibitions at the Holburne 16 Antonia Johnson, who Do you have an unidentified many of you will know as tree or shrub? Would you the previous chairman of like some advice on how the Holburne Friends, or best to look after it, or prune from our own plant stall at a woody plant, or manage the annual plant sale, also an area of your garden? chairs the Scientific & In exchange for a modest Educational Committee of contribution to the Museum’s the International Dendrology coffers, I am happy to come Society. Antonia has kindly and visit.” offered to give specialist garden advice to help raise Antonia Johnson, some funds for the Museum: Dendrologist “Although we are in the grip If you are interested in more of both icy weather and information please email lockdown as I write, the world Antonia via: will once again warm up [email protected] and open up; and our Gymnocladus dioica in the Royal Victoria gardens will inevitably grow. Park, Bath © Antonia Johnson WWW.HOLBURNE.ORG/SUPPORT-US 3 Jonno’s letter Dear Holburne Supporters, Those who braved the wintry joining the Committee does When you read this I hope it will chill to support our ‘pop-up’ have many rewards too). not be long before the Holburne Christmas sale will recall the Please get in touch via the can throw open the doors again array of delicious produce and Museum; we can offer advice and welcome everyone back. cakes for sale. We would love and help you get started. to have something similar Firstly I would like to say thank for the Plant Sale - do check We hope to re-introduce our you to Richard Frewer, who is the panel below for info series of day trips and events standing down from the Friends about how you could help. later this year. One such trip is Committee after many years of My thanks to Olivia, Simon, an exciting, and rare, chance sterling service to the Museum: Sally, Stephen, Sidney, David to visit Longford Castle, home as a Trustee and organiser and and Mark for making the to a collection of fine paintings, performer of many wonderful 2020 Christmas sale happen, tapestries, porcelain and musical events that have and thanks to an anonymous furniture. See details on p.15. greatly benefitted the Holburne. donor too, we raised over £1,000 for the Holburne! Thank you for your continued Spring is here, and thoughts turn support of the Holburne. I do to getting gardens ready for the Do you have time to spare hope to see you at the Plant brighter days ahead. We are and enjoy organising trips Sale and in the Museum soon. very glad that the first event this or events? Perhaps you are year will be our popular and fun recently retired, or know Plant Sale. We have a special someone who is, and needs a pull-out mini-poster for the ‘project’ to keep occupied?! Jonno Davis occasion on pages 8-9 with art Our solution: come and help Chairman, Holburne Supporters by Claire Ishino (claireishino.com), us by arranging a fund-raising who kindly let us use her work event - whether it’s a visit to If you can bake a cake or free of charge - please feel free a local garden, artist’s studio other tea-time treats, make to display it, and do put 9th or workshop, a talk or concert, jam or produce in a jar, May in your diaries. The Museum or a full day trip to a special please consider donating grounds will become a mini- place, we would love to hear some for us to sell at the garden centre, with beautiful from you. Plant Sale on Sunday 9th plants and herbs to buy. We will May. We are hoping to have also have a stall of fine quality Such events all help to raise a well-stocked stall with secondhand books on gardens, funds for the Museum, but are lots of tasty fare to tempt cooking and more. also lively social occasions - everyone into buying and a chance to meet fellow supporting the Holburne. Holburne supporters, and Do encourage your friends enjoy a special day out or a and family to join in, and visit to somewhere different. please label the ingredients. You won’t need to sit on the Contact Olivia Eliot for Supporters’ Committee or details on: anything formal, (although 01225 462156 Thank you! Jonno Davis 4 WWW.HOLBURNE.ORG/SUPPORT-US A message from Chris Stephens greatest surviving set of of the greatest masterpieces Canaletto’s views of Venice. of this form of art. They are Through twenty-three on display in the Davidson paintings, the exhibition takes Ballroom which, since we you up the Grand Canal to closed, has been opened up the Rialto Bridge and, from by the removal of the huge the far end, back down again, vitrine in the middle of the and finishes with views of room. We are looking forward various inland sites in the city, to the more varied range of Dear all, including the Piazza San displays and events that this It is a strange state of affairs Marco. The set, which has not will allow. when planning to reopen the been lent for seventy years, Museum after months of normally lives in the dining In the Picture Gallery we are enforced closure seems like room of Woburn Abbey, showing for the very first familiar territory. We have where the paintings hang time a series of sculptures by such a rich season coming up, three-high. So, this is a once- Nicholas Pope, a graduate of however, that the sense of in-a-lifetime opportunity to Bath Academy of Art, each of excited anticipation seems see Canaletto’s greatest which shows in abstract form even greater than last group of paintings up close. the artist, his wife and the summer when we emerged While so much is uncertain state of their marriage. from the first lockdown. about the summer, it is also Humorous and absurd, the Much of what is coming was a great opportunity to have sculptures are made of wood, originally planned for 2020 a little taste of Italy. metal, ceramic, glass and, and then postponed to even, shrunken knitwear, and January of this year and the Alongside Canaletto we offer an examination of a further delay of Lockdown 3 are showing an exquisite human relationship over five just whets our appetite all group of Islamic metalwork decades made all the more the more. from the Courtauld Collection. poignant by the death of the The craftsmanship is artist’s wife late last year. The headline event coming extraordinary and the up is our display of the exhibition includes some Top left: Chris Stephens, photograph © Clare Green Left: Metalwork bag, Iraq, Mosul (Ilkhanid dynasty 1256-1353) c.1300-1330 brass, hammered, engraved and inlaid with silver and gold. The Courtauld, London (The Samuel Courtauld Trust) © The Courtauld WWW.HOLBURNE.ORG/SUPPORT-US FUTURE EVENTS FOR ALL MUSEUM SUPPORTERS 5 A message from Chris Stephens continued Finally, hot on the heels of the are making about works in our you can enjoy a meal or a Holburne’s starring role in collection. On the subject of drink even in bad weather. Netflix’s Bridgerton, we are the website, in a radical In May, come and stock up bringing Regency Bath’s most departure for us, from May your garden or window box famous resident back for a we will be presenting Thomas at the Friends of the Holburne summer stay. From July to Lawrence: Coming of Age, Plant Sale on Sunday 9th September, we will be showing focused on the artist prodigy’s and look out for a weekend the only accepted portrait of early life in Bath, as an online of family workshops and Jane Austen (on loan from the exhibition. The accompanying entertainment over the late National Portrait Gallery) who book by Amina Wright is May Bank Holiday (29th-31st). once lived across the road and already out and can be bought Hopefully, by then the used to enjoy our gardens. from our online shop. Museum will be fully open. Jane will be one of several new additions to the collection We cannot wait to get open Until then, thank you to displays in our Posnett and and to see our loyal visitors everyone for your support Fletcher galleries.
Recommended publications
  • Prints from Private Collections in New England, 9 June – 10 September 1939, No
    Bernardo Bellotto (Venice 1721 - Warsaw 1780) The Courtyard of the Fortress of Königstein with the Magdalenenburg oil on canvas 49.7 x 80.3 cm (19 ⁵/ x 31 ⁵/ inches) Bernardo Bellotto was the nephew of the celebrated Venetian view painter Canaletto, whose studio he entered around 1735. He so thoroughly assimilated the older painter’s methods and style that the problem of attributing certain works to one painter or the other continues to the present day. Bellotto’s youthful paintings exhibit a high standard of execution and handling, however, by about 1740 the intense effects of light, shade, and color in his works anticipate his distinctive mature style and eventual divergence from the manner of his teacher. His first incontestable works are those he created during his Italian travels in the 1740s. In the period 1743-47 Bellotto traveled throughout Italy, first in central Italy and later in Lombardy, Piedmont, and Verona. For many, the Italian veduteare among his finest works, but it was in the north of Europe that he enjoyed his greatest success and forged his reputation. In July 1747, in response to an official invitation from the court of Dresden, Bellotto left Venice forever. From the moment of his arrival in the Saxon capital, he was engaged in the service of Augustus III, King of Poland and Elector of Saxony, and of his powerful prime minister, Count Heinrich von Brühl. In 1748 the title of Court Painter was officially conferred on the artist, and his annual salary was the highest ever paid by the king to a painter.
    [Show full text]
  • Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
    Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector.
    [Show full text]
  • Annual Review to 31St January 2015
    Annual Review 1 February 2014 – 31 January 2015 Visit of HRH The Duke of Gloucester KG GCVO on 22 April 2014 Bath Preservation Trust Limited Contents Registered Office No. 1 Royal Crescent, Bath, BA1 2LR Charity Registered No 203048, Company Registered No 294789 Chairman’s Report 2 Tel No +44 (0)1225 338727 www.bath-preservation-trust.org.uk Chief Executive’s report 3 Architecture and Planning Committee 4 Patron His Royal Highness The Prince of Wales KG Environs Sub-Committee 12 President Michael Briggs BPT Archives 12 Vice-Presidents Adam Fergusson Bath Preservation Trust Museums 13 Dame Jennifer Jenkins The Rt Hon. The Lord Patten of Barnes CH PC No. 1 Royal Crescent 15 Chairman of the Trustees Edward Bayntun-Coward Building of Bath Collection 20 Beckford’s Tower & Museum 22 Trustees Diane Aderyn (co-opted December 2014) Jane Brown (retired June 2014) Herschel Museum of Astronomy 25 Kristin Doern (elected June 2014) Robert Hellard Education at The Trust’s Museums 28 Celia Mead Simon Morray-Jones Membership Working Group 29 Bill Otley World Heritage Site Enhancement Fund 32 Andrew Pitt Thomas Sheppard (elected June 2014) Fundraising and Development 33 Cathryn Spence (resigned December 2014) Alison Streatfeild-James (elected June 2014) Summary Financial Information for the Adrian Tinniswood Year Ended 31 January 2015 35 Mark Wilson-Jones Members as at 31 January 2015 41 Chief Executive Caroline Kay Legal Advisors Stone King LLP, Bath Bankers CAF Bank Ltd, Kent Coutts & Co, London Lloyds, Bath Auditors Bishop Fleming LLP, Bristol Financial Advisers Quilter Cheviot, Bristol Legal Status Company Limited by guarantee governed by the provisions in its Articles of Association.
    [Show full text]
  • Spring 2020 Final 18:12:19
    Newsletter FOR SUPPORTERS OF THE HOLBURNE MUSEUM SPRING 2020 FLEET AIR ARM and HAYNES MOTOR MUSEUMS see page 5 A DAY AT SHERBORNE CASTLE and MINTERNE HOUSE & GARDENS see page 8 NEW EXHIBITION: GRAYSON PERRY: THE PRE-THERAPY YEARS see page 4 LUCAS CRANACH at COMPTON VERNEY see page 6 2 WWW.HOLBURNE.ORG/SUPPORT-US Contents and calendar of events Jonno’s letter and message from Chris Stephens 3 2020 FUTURE EVENTS Thursday 23rd January Invitation: Exhibition Circle and Patrons’ Private View 4 Friday 24th January Invitation: Friends’ Private View 4 Thursday 12th March A visit to the Fleet Air Arm & Haynes Motor museums 5 Thursday 26th March Lucas Cranach exhibition at Compton Verney 6-7 Thursday 16th April A day trip to Sherborne Castle and Minterne House 8-9 Friday 1st May A musical evening celebrating Frank Brown 10-11 Saturday 9th May Expert wine-tasting at the Holburne 12 Sunday 10th May The Holburne Plant and Produce Sale 13 Tuesday 12th May A rare chance to visit Kentchurch Court & Rudhall Manor 14 Holburne Insights: new acquisition of Bow porcelain 15 Recent event reports 16-18 Exhibition Circle & Patrons members events 19-21 Holburne news and fundraising update 22-23 Thursday 11th June Save the date: Exhibition Circle and Patrons 24 Private View - Canaletto Call-out for produce jars for Holburne Plant Sale 24 Holburne Supporters Committee 24 Credits/captions for front cover images: Friends membership 2020 Clockwise from top left: In Spring 2020 there will be small increases to our Friends membership subscriptions: £40 per year for an individual and £60 for joint membership.
    [Show full text]
  • Venice: Canaletto and His Rivals February 20, 2011 - May 30, 2011
    Updated Friday, February 11, 2011 | 3:41:22 PM Last updated Friday, February 11, 2011 Updated Friday, February 11, 2011 | 3:41:22 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Venice: Canaletto and His Rivals February 20, 2011 - May 30, 2011 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. File Name: 2866-103.jpg Title Title Section Raw File Name: 2866-103.jpg Iconografica Rappresentatione della Inclita Città di Venezia (Iconongraphic Iconografica Rappresentatione della Inclita Città di Venezia (Iconongraphic Representation of the Illustrious City of Venice), 1729 Display Order Representation of the Illustrious City of Venice), 1729 etching and engraving on twenty joined sheets of laid paper etching and engraving on twenty joined sheets of laid paper 148.5 x 264.2
    [Show full text]
  • Gallery Painting in Italy, 1700-1800
    Gallery Painting in Italy, 1700-1800 The death of Gian Gastone de’ Medici, the last Medici Grand Duke of Tuscany, in 1737, signaled the end of the dynasties that had dominated the Italian political landscape since the Renaissance. Florence, Milan, and other cities fell under foreign rule. Venice remained an independent republic and became a cultural epicenter, due in part to foreign patronage and trade. Like their French contemporaries, Italian artists such as Giovanni Battista Tiepolo, Francesco Guardi, and Canaletto, favored lighter colors and a fluid, almost impressionistic handling of paint. Excavations at the ancient sites of Herculaneum and Pompeii spurred a flood of interest in classical art, and inspired new categories of painting, including vedute or topographical views, and capricci, which were largely imaginary depictions of the urban and rural landscape, often featuring ruins. Giovanni Paolo Pannini’s paintings showcased ancient and modern architectural settings in the spirit of the engraver, Giovanni Battista Piranesi. Music and theater flourished with the popularity of the piano and the theatrical arts. The commedia dell’arte, an improvisational comedy act with stock characters like Harlequin and Pulcinella, provided comic relief in the years before the Napoleonic War, and fueled the production of Italian genre painting, with its unpretentious scenes from every day life. The Docent Collections Handbook 2007 Edition Francesco Solimena Italian, 1657-1747, active in Naples The Virgin Receiving St. Louis Gonzaga, c. 1720 Oil on canvas Bequest of John Ringling, 1936, SN 165 Giovanni Antonio Pellegrini Italian, 1675-1741, active in Venice The Entombment, 1719 Oil on canvas Bequest of John Ringling, 1936, SN 176 Amid the rise of such varieties of painting as landscape and genre scenes, which previously had been considered minor categories in academic circles, history painting continued to be lauded as the loftiest genre.
    [Show full text]
  • Canaletto's Vedute Prints
    CANALETTO’S VEDUTE PRINTS An Exhibition in Honor of Adolph Weil Jr. HOOD MUSEUM OF ART, DARTMOUTH COLLEGE MONTGOMERY MUSEUM OF FINE ARTS 153064_Canaletto.indd 1 12/2/14 2:18 PM INTRODUCTION Mark M. Johnson, Director, Montgomery Museum of Fine Arts Michael R. Taylor, Director, Hood Museum of Art, Dartmouth College he Hood Museum of Art and the actual sites and imaginary vistas, and at times Montgomery Museum of Fine Arts are even interweaving the familiar with the fantas- Tdelighted to present Canaletto’s Vedute tic. Through these prints, Canaletto revealed Prints: An Exhibition in Honor of Adolph an unseen Venice to what he hoped would be Weil Jr. This partnership reflects the indelible a new audience and a new market: collectors imprint that this remarkable collector’s legacy spurred by the revival of printmaking in has borne on the museums of his hometown, eighteenth-century Italy. The results of his Montgomery, Alabama, and of his alma mater, project were unexpected and revelatory, and as Dartmouth College, which he attended from magical today as in Canaletto’s own time. 1931 to 1935. Both the Montgomery Museum of Fine Arts and the Hood Museum of Art have in the past mounted exhibitions of Mr. Weil’s prints that are now held by the institutions. In this collaborative venture, we celebrate another important aspect of Mr. Weil’s outstanding collection, Canaletto’s magnificent etchings of eighteenth-century Venice. This project was planned jointly to commemorate the one hun- dredth anniversary of the birth of the donor, and to celebrate his vision and dedication as a collector of Old Master prints.
    [Show full text]
  • Perspective on Canaletto's Paintings of Piazza San Marco in Venice
    Art & Perception 8 (2020) 49–67 Perspective on Canaletto’s Paintings of Piazza San Marco in Venice Casper J. Erkelens Experimental Psychology, Helmholtz Institute, Utrecht University, Utrecht, The Netherlands Received 21 June 2019; accepted 18 December 2019 Abstract Perspective plays an important role in the creation and appreciation of depth on paper and canvas. Paintings of extant scenes are interesting objects for studying perspective, because such paintings provide insight into how painters apply different aspects of perspective in creating highly admired paintings. In this regard the paintings of the Piazza San Marco in Venice by Canaletto in the eigh- teenth century are of particular interest because of the Piazza’s extraordinary geometry, and the fact that Canaletto produced a number of paintings from similar but not identical viewing positions throughout his career. Canaletto is generally regarded as a great master of linear perspective. Analysis of nine paintings shows that Canaletto almost perfectly constructed perspective lines and vanishing points in his paintings. Accurate reconstruction is virtually impossible from observation alone be- cause of the irregular quadrilateral shape of the Piazza. Use of constructive tools is discussed. The geometry of Piazza San Marco is misjudged in three paintings, questioning their authenticity. Sizes of buildings and human figures deviate from the rules of linear perspective in many of the analysed paintings. Shadows are stereotypical in all and even impossible in two of the analysed paintings. The precise perspective lines and vanishing points in combination with the variety of sizes for buildings and human figures may provide insight in the employed production method and the perceptual experi- ence of a given scene.
    [Show full text]
  • The Age of Pleasure and Enlightenment European Art of the Eighteenth Century Increasingly Emphasized Civility, Elegance, Comfor
    The Age of Pleasure and Enlightenment European art of the eighteenth century increasingly emphasized civility, elegance, comfort, and informality. During the first half of the century, the Rococo style of art and decoration, characterized by lightness, grace, playfulness, and intimacy, spread throughout Europe. Painters turned to lighthearted subjects, including inventive pastoral landscapes, scenic vistas of popular tourist sites, and genre subjects—scenes of everyday life. Mythology became a vehicle for the expression of pleasure rather than a means of revealing hidden truths. Porcelain and silver makers designed exuberant fantasies for use or as pure decoration to complement newly remodeled interiors conducive to entertainment and pleasure. As the century progressed, artists increasingly adopted more serious subject matter, often taken from classical history, and a simpler, less decorative style. This was the Age of Enlightenment, when writers and philosophers came to believe that moral, intellectual, and social reform was possible through the acquisition of knowledge and the power of reason. The Grand Tour, a means of personal enlightenment and an essential element of an upper-class education, was symbolic of this age of reason. The installation highlights the museum’s rich collection of eighteenth-century paintings and decorative arts. It is organized around four themes: Myth and Religion, Patrons and Collectors, Everyday Life, and The Natural World. These themes are common to art from different cultures and eras, and reveal connections among the many ways artists have visually expressed their cultural, spiritual, political, material, and social values. Myth and Religion Mythological and religious stories have been the subject of visual art throughout time.
    [Show full text]
  • Let's Make a Scene!
    Let’s Make a Scene! The Holburne welcomes Giovanni Antonio Canal, known as Canaletto, who was born in Venice, the son of a theatrical scene painter. His father was Bernardo Canal, hence his son being know as Canaletto meaning “little Canal". During his life Bernardo Canal was best known as a painter of theatrical sets for works by composers Antonio Vivaldi, Fortunato Chelleri, Carlo Francesco Pollarolo and Giuseppe Maria Orlandini at two popular Venetian Theatres. Canaletto popularised veduta, which means a highly detailed, usually large-scale, painting of a cityscape or some other vista. You can see how these beautiful veduta, or city- scapes, easily inspire and translate into stage sets like this reconstruction of the Teatro San Cassiano in Venice, with each layer unfolding like a diorama. The Activity To make a 'Scene in a Tin', tub or box like a miniature stage set of a Venetian veduta. Take inspiration from the theatres and streets of Canaletto's Venice and layer your scene to create a 3D effect. Activity Sheet designed by Susie Walker What will you need? • A tub, tin or box to build your scene in. • Thin card and thick card (stiffer like packaging card) • Pencil and ruler • Scissors &/or craft knife • Glue • Colours for decorating paper • Black pen for outlining detail How to make your scene 1. Prepare your clean tub and decide what your scene will be - Venice; Bath; the sea; a fairy tale even. Collect some images to inspire you. 2. Paint some small pieces of thin card in the colours you would like to use for your scene.
    [Show full text]
  • Bernardo Bellotto (Venice 1721-1780 Warsaw)
    PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION ■9 BERNARDO BELLOTTO (VENICE 1721-1780 WARSAW) View of Verona with the Ponte delle Navi oil on canvas 52q x 92q in. (133.3 x 234.8 cm.) painted in 1745-47 £12,000,000-18,000,000 US$18,000,000-26,000,000 €14,000,000-21,000,000 PROVENANCE: LITERATURE: Anonymous sale ‘lately consigned from abroad’; Christie’s, 30 March [=2nd M. Chamot, ‘Baroque Paintings’, Country Life, LX, 6 November 1926, p. 708. day] 1771, lot 55, as 'Canaletti', 'its companion [lot 54; A large and most capital A. Oswald, ‘North Mymms Park, II’, Country Life, LXXV, 20 January 1934, picture, being a remarkable view of the city of Verona, on the banks of the pp. 70-1, fig. 13. Adige. This picture is finely coloured, the perspective, its light and shadow S. Kozakiewicz, in Bernardo Bellotto 1720-1780, Paintings and Drawings from fine and uncommonly high finish’d’; 250 guineas to Grey] exhibiting another the National Museum of Warsaw, exhibition catalogue, London, Whitechapel view of the same city, equally fine, clear and transparent’, the measurements Art Gallery, Liverpool, York and Rotterdam (catalogue in Dutch), 1957, p. 25, recorded as 53 by 90 inches (250 guineas to ‘Fleming’, ie. the following). under no. 32. Gilbert Fane Fleming (1724-1776), Marylebone; Christie’s, London, 22 May W. Schumann and S. Kozakiewicz, in Bernardo Bellotto, genannt Canaletto 1777, as ‘Canaletti. A view of the city of Verona, esteemed the chef d’œuvre of in Dresden und Warschau, exhibition catalogue, Dresden, 1963, respectively the master’ (205 guineas to ‘Ld Cadogan’, i.e.
    [Show full text]
  • ANTONIO CANALETTO, Basin of San Marco from San Giorgio Maggiore, Venice Ca
    Both the Enlightenment and the Industrial Revolution began in the eighteenth century, and with them came the dominance of modern science. The Enlightenment Enlightenment (or “Age of Reason”): A movement in 18th century thought. Its central idea was the need for (and the capacity of) human reason to clear away ancient superstition, prejudice, dogma, and injustice. Enlightenment thinking encouraged rational scientific inquiry, humanitarian tolerance, and the idea of universal human rights. These thoughts mobilized a widespread dissatisfaction with contemporary social and political ills, and culminated with the American (1774-1783) and French (1789–1799) Revolutions. 3:31 – John Locke and Voltaire http://youtu.be/K7q5oT-X_PI Neoclassicism: mid 18th - mid 19th c. Relating to, or constituting a revival or adaptation of the classical style. It originated as a reaction to the Baroque and the sensuous and decorative Rococo style . Neoclassicism sought to revive the ideals of ancient Greek and Roman art. Neoclassic artists used classical forms to express their ideas about courage, sacrifice, and love of their country. Jacques-Louis David , Oath of the Horatii. 1784 The Grand Tour: The enlightenment had made knowledge of ancient Rome and Greece imperative, and a steady stream of Europeans and Americans traveled to major sites of southern Europe, especially Italy, in the 18th and early 19th c. ANTONIO CANALETTO, Basin of San Marco from San Giorgio Maggiore, Venice ca. 1740. Oil on canvas. The Wallace Collection, London. Louise-Elisabeth Vigée- Lebrun. Portrait of Queen The French Revolution (1789–1799) Marie Antoinette with Children. Movement that shook France between 1787 and 1799, reaching its first climax in 1789, and ended the ancien régime (French: “old order”) The Declaration of the Rights of Man and of the Citizen is one of the fundamental documents of the French Revolution, defining a set of individual rights and collective rights Louis XVI, King of of the people.
    [Show full text]