The Early Works of Velázquez Through a Phenomenological Lens" (2012)
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Title Connection Between Rough Brushstrokes and Vulgar Subjects in Seventeenth-Century Netherlandish Paintings Author(S) Fukaya
Connection between Rough Brushstrokes and Vulgar Subjects Title in Seventeenth-Century Netherlandish Paintings Author(s) Fukaya, Michiko Citation Kyoto Studies in Art History (2017), 2: 55-71 Issue Date 2017-04 URL https://doi.org/10.14989/229460 © Graduate School of Letters, Kyoto University and the Right authors Type Departmental Bulletin Paper Textversion publisher Kyoto University 55 Connection between Rough Brushstrokes and Vulgar Subjects in Seventeenth-Century Netherlandish Paintings Michiko Fukaya 1. Introduction Karel van Mander stated in his Schilder-boeck that painters at the time were accustomed to applying their paint more thickly than before; hence, their paintings were made seemingly of stone relief.1 At the same time, he used the terms “uneven and rough (oneffen en rouw)” and “beautifully, neat and clear (schoon, net en blijde)” as two contrasting manners in the application of paint.2 His comment is followed by a well-known passage referring to Titian’s earlier style, executed “with incredible neatness (met onghelooflijcke netticheyt)” and his later one, “with stains and rough strokes (met vlecken en rouw’ streken)”. In 1604, when van Mander was writing the above passage, it was uncommon among Netherlandish painters to paint so thickly that their paintings might be compared to a relief. Nevertheless, in Lives of the Northern Painters, van Mander mentioned two painters who applied their paint so thick that the canvas could not be rolled or had to be scraped off,3 although such rough manner was more tightly connected to the Italian style. In any event, the dichotomy of the neatness and the roughness of application of the paint was introduced into Netherlandish art theory at the time. -
Bruegel Notes Writing of the Novel Began October 20, 1998
Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February, -
Century Seville Painting
ROCZNIKI HUMANISTYCZNE Volume 66, issue 4 – 2018 SELECTED PAPERS IN ENGLISH DOI: http://dx.doi.org/10.18290/rh.2018.66.4-6e FR. ANDRZEJ WITKO * STILL LIFE IN 17TH-CENTURY SEVILLE PAINTING Still life representations showing various man-made objects such as dishes, weapons, books, candles, kitchen utensils, musical instruments, cards, but also food items such as fruit, vegetables, bread, sweets, eggs, fish and animals, as well as flowers and human skulls, are referred to in Spanish as the bodegón.1 Originally, the term had a much broader meaning and in- cluded so-called kitchen scenes, which were of particular interest to young Diego Velázquez, today considered a part of genre painting. Man-made ob- jects were rarely the main theme of Spanish bodegones. If they appeared, they usually accompanied other natural products. Although this genre of painting never developed especially in Seville, it did enjoy a certain popular- ity there. This was due to both typical aesthetic feelings and the experience of Black Death. The resulting hunger, lack of food and meagre harvests pro- voked the creation of unusually “appetizing” still lifes, which were supposed to compensate for the acute food shortages. The plague and the spreading death toll moreover inspired the creation of superb still lifes that emphasized the futility of human life. There were also still lifes referring to specific litur- gical periods, e.g. Christmas or Lent, particular seasons and months, taking Fr. Prof. Dr Hab. ANDRZEJ WITKO – head of the Department of Modern Art History, Institute of Art and Culture History, John Paul II Pontifical University in Krakow; address for correspon- dence: ul. -
The Immaculate Conception C
[5] granada school, second half of the 17th century The Immaculate Conception c. 1650-1680 Black chalk, pen and black ink and white wash on paper 360 x 235 mm he frequent depiction of the Immaculate Conception rosy cheeks, her beautiful hair spread out and the colour of in 17th -century Spain can be seen as a responding gold [...]. She must be painted wearing a white tunic and to a desire to defend the cult of the Virgin and her blue mantle [and be] crowned with stars; twelve stars forming T 1 virginity against Protestant doubts. Stylistically, depictions a bright circle between glowing light, with her holy brow as of this subject evolved in parallel to the general evolution of the central point.” 2 17 th -century art. Thus, in the fi rst third of the century such Cano’s Immaculate Conceptions evolved in parallel to images were characterised by a restrained, tranquil mood with his work as a whole but always remained faithful to Pacheco’s the Virgin presented as a static, frontal fi gure. In the second precepts. They range from his most static depictions of the third of the century, however, a new approach showed her as early 1620s, such as the one in a private French collection, 3 advancing forward majestically with a suggestion of upward to those from the end of his career, which convey the greatest movement in the draperies. Finally, in the last third of the sense of movement, including the ones painted for the century the fi gure of Mary soared upwards, enveloped in cathedrals in Granada (c. -
Embodied Piety Sacrament Houses and Iconoclasm in the Sixteenth-Century Low Countries
bmgn - Low Countries Historical Review | Volume 131-1 (2016) | pp. 36-58 Embodied Piety Sacrament Houses and Iconoclasm in the Sixteenth-Century Low Countries anne-laure van bruaene On the eve of the Beeldenstorm, a great number of churches in the Low Countries had a sacrament house, a shrine for the Corpus Christi, often metres high. These monstrance-like tabernacles were nearly all destroyed by iconoclasts between 1566 and 1585. This essay discusses the dialectics between the construction and destruction of sacrament houses before and after the Beeldenstorm. It argues against a strict divide between material devotion and spiritual belief by highlighting the intertwining of Catholic and Calvinist embodied pieties. Fuelled by their opposing conceptions of the Eucharist, Catholic devotees and Protestant iconoclasts both engaged with sacrament houses and other expressions of the Corpus Christi devotion (processions, miracle cults et cetera) in a deliberate and intensely physical manner. Belichaamde vroomheid. Sacramentshuizen en iconoclasme in de zestiende-eeuwse Nederlanden Aan de vooravond van de Beeldenstorm stond in heel wat kerken in de Nederlanden een sacramentshuis, een vaak metershoge toren met het uiterlijk van een reusachtige monstrans, waarin het Corpus Christi werd tentoongesteld. Deze tabernakels werden haast allemaal vernield door iconoclasten tussen 1566 en 1585. Dit artikel bestudeert het samenspel tussen het optrekken en afbreken van sacramentshuizen voor en na de Beeldenstorm. De centrale stelling luidt dat we af moeten van een strikte scheiding tussen materiële devotie en spiritueel geloof. Zowel katholieken als calvinisten beleefden hun geloof op een belichaamde manier en hun handelingen waren steeds verweven. Vrome katholieke leken en protestantse beeldenstormers hadden sterk conflicterende ideeën over de eucharistie, maar juist daarom gingen ze op een heel bewuste en uiterst lichamelijke manier om met de sacramentshuizen en andere uitingen van sacramentsvroomheid zoals ommegangen en mirakelcultussen. -
Images of the Last Judgment in Seville
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 Images of the Last Judgment in Seville: Pacheco, Herrera el Viejo, and the Phenomenological Experience of Fear and Evil Juan José López University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation López, Juan José, "Images of the Last Judgment in Seville: Pacheco, Herrera el Viejo, and the Phenomenological Experience of Fear and Evil" (2014). Theses and Dissertations. 412. https://dc.uwm.edu/etd/412 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. IMAGES OF THE LAST JUDGMENT IN SEVILLE: PACHECO, HERRERA EL VIEJO, AND THE PHENOMENOLOGICAL EXPERIENCE OF FEAR AND EVIL by Juan José López A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin – Milwaukee May 2014 ABSTRACT IMAGES OF THE LAST JUDGMENT IN SEVILLE: PACHECO, HERRERA EL VIEJO, AND THE PHENOMENOLOGICAL EXPERIENCE OF FEAR AND EVIL by Juan J. López The University of Wisconsin – Milwaukee, 2014 Under the supervision of Professor Tanya J. Tiffany During the early stages of the seventeenth century in Seville, images of the Last Judgment participated in a long artistic tradition of inspiring fear about the impending apocalypse. This thesis focuses on two paintings of the Last Judgment, one by Francisco Pacheco for the church of St. -
El Greco's Saint Francisat the Bilbao Fine Arts Museum
El Greco’s Saint Francis at the Bilbao Fine Arts Museum Ana Sánchez-Lassa de los Santos José Luis Merino Gorospe This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Archivo del Instituto Valencia de Don Juan, Madrid: fig. 2 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 3, 4 and 10-25 © Fine Arts Museum of San Francisco. Donated by Samuel H. Kress Foundation: fig. 5 © Meadows Museum, Southern Methodist University, Dallas. Museum Purchase. Meadows Acquisition Fund with private donations and University funds: fig. 8 © Museo Diocesano de Arte Sacro, Vitoria-Gasteiz. Depósito de la Diputación Foral de Álava: fig. 9 © RMN-Grand Palais / Jacques Quecq d’Henripret: fig. 7 © The Art Institute of Chicago: fig. 6 Text published in: Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 8, 2014, pp. 111-157. Sponsor: aint Francis in Prayer Before the Crucifix, by El Greco [fig. -
Forging Imperial Cities: Seville and Formation of Civic Order in the Early Modern Hispanic World
Forging Imperial Cities: Seville and Formation of Civic Order in the Early Modern Hispanic World By ©2014 Stephanie Stillo Submitted to the graduate degree program in History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________ Luis Corteguera Chair ________________ Marta Vicente ________________ Elizabeth Kuznesof ________________ Robert Schwaller ________________ Patricia Manning Date Defended: 12/11/2013 The Dissertation Committee for Stephanie Stillo certifies that this is the approved version of the following dissertation: Forging Imperial Cities: Seville and Formation of Civic Order in the Early Modern Hispanic World _______________________ Chairperson Luis Corteguera Date Approved: 12/11/2013 ii Abstract In 1503 the Spanish monarchy awarded the city of Seville a monopoly on Spanish-American trade. Serving as the gateway to Spain’s lucrative Atlantic Empire for over two centuries, the city fashioned itself as an imperial capital, and natural successor to ancient Rome. Despite never serving as the official capital to the Spanish Habsburgs, civic authorities in Seville nonetheless expressed their city’s wealth and nobility through an excess of laudatory histories, artwork, architectural renovations, and regional patron saints. This dissertation first contextualizes Seville’s prominence by exploring how Phillip II’s refusal to establish a permanent capital in Madrid until 1561 promoted competition between many cities in Castile, all of which saw themselves as potential contenders for the future imperial court. As Spain moved into Atlantic territories, this competition helped fashion the urban organizational strategy for colonial settlement in the New World. As Seville was the most important city in Spain during the early modern period, the city greatly influenced the conceptualization and development of Spanish-American cities between the late sixteenth to the early eighteenth centuries. -
Drawing → Underdrawing → Painting: Compositional Evolution in the Working Process of Joachim Beuckelaer
Volume 4, Issue 2 (Summer 2012) Drawing → Underdrawing → Painting: Compositional Evolution in the Working Process of Joachim Beuckelaer Margreet Wolters Recommended Citation: Margreet Wolters, “Drawing → Underdrawing → Painting: Compositional Evolution in the Work- ing Process of Joachim Beuckelaer,” JHNA 4:2 (Summer 2012), DOI:10.5092/jhna.2012.4.2.2 Available at https://jhna.org/articles/drawing-underdrawing-painting-compositional-evolu- tion-working-process-joachim-beuckelaer/ 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 is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 4:2 (Summer 2012) 1 DRAWING → UNDERDRAWING → PAINTING: COMPOSITION- AL EVOLUTION IN THE WORKING PROCESS OF JOACHIM BEUCKELAER Margreet Wolters This article compares a number of drawings and related paintings by the Antwerp artist Joachim Beuckelaer: three drawings of the Adoration of the Shepherds and two related painted versions of the same subject; two oil sketches on paper, each depicting half of a Crucifixion scene, and the associated painting; and a drawing and painting both repre- senting Isaac Blessing Jacob. The paintings were examined with infrared reflectography (IRR), revealing for study the important intermediary step of the underdrawing. The article demonstrates how the artist began with a design on paper and worked toward the final paint stage in a continuous and supple design process that incorporated numerous shifts and changes in composition. -
14 Introduction My Dissertation Addresses Two Types Of
Pieter Bruegel the Elder: art discourse in the sixteenth-century Netherlands Richardson, T.M. Citation Richardson, T. M. (2007, October 16). Pieter Bruegel the Elder: art discourse in the sixteenth-century Netherlands. Retrieved from https://hdl.handle.net/1887/12377 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/12377 Note: To cite this publication please use the final published version (if applicable). Introduction My dissertation addresses two types of conversations that took place in the Netherlands during the middle of the sixteenth century which were independent of one another, yet significantly related. The first, and primary, discourse I am concerned with is the purely visual interaction between artists and artistic practices that unfolds in pictures. To this end, I am particularly interested in the way artists cite or mediate in their work visual concepts or pictorial elements from other artists or artistic traditions, often translating both form and content from one context into another. The secondary conversation that is fundamental to these exchanges is the dialogue that occurred between viewers in front of pictures and the way in which pictorial strategies facilitated their visual experience and challenged their analytical capabilities. At issue in the former is the creative process of the artist; at issue in the latter are the habits of mind brought to the act of looking, and what questions or revelations the image was likely to have addressed or inspired for its contemporary viewers. The Pancake Eaters (1560, fig. -
Nueva Roma: Mitología Y Humanismo En El Renacimiento Sevillano
Nueva Roma: Mitología y humanismo en el Renacimiento sevillano If you access or use the journal, you accept these Donate to conditions. caa.reviews critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies published by the College Art Association About Book Reviews Exhibition Reviews Essays Recent Books in the Arts Dissertations Supporters Reviews by Category October 9, 2013 African Art (sub-Saharan) Vicente Lleó Cañal Architectural History/Historic Nueva Roma: Mitología y humanismo en el Preservation Art of the Middle East/North Africa Renacimiento sevillano Art of the United States Madrid: Centro de Estudios Europa Hispánica, 2012. 334 pp.; 126 ills. Paper €28.00 (9788415245247 ) Artists' Books and Books for Artists Arts Administration and Museum Studies Ceramics/Metals/Fiber Arts/Glass Tanya J. Tiffany Chinese Art Contemporary Art CrossRef DOI: 10.3202/caa.reviews.2013.107 Critical Theory/Gender Studies/Visual Studies Decorative Arts/Textiles/Design History Originally published in 1979, Vicente Lleó Cañal’s Nueva Roma: Mitología y humanismo en el Digital Media/Animation Renacimiento sevillano represented a breakthrough in the history of Spanish art. Along with Jonathan Drawings/Prints/Works on Paper Brown’s Images and Ideas in Seventeenth-Century Spanish Painting (Princeton: Princeton University Early Christian/Byzantine Art Press, 1978), Nueva Roma was among the first sustained discussions of the social and intellectual Early Medieval/Romanesque/Gothic bonds forged among Sevillian men of letters, artists, and patrons. Lleó also charted new territory by Art exploring how humanistic learning informed local architecture, painting, sculpture, and broader aspects Egyptian/Ancient Near Eastern Art Eighteenth-Century Art of visual culture. -
Genre Painting
Rochester Institute of Technology RIT Scholar Works Theses 6-1-1969 Genre Painting Lydia Mugambi Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Mugambi, Lydia, "Genre Painting" (1969). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. title page title of thesis Genre Painting Author LYDIA ZAWEDDE MUGAMBI Candidate for the Master of Fine Arts College of Fine and Applied Arts Rochester Institute of Technology Date of Submission June 1, 1969 Adv i sors Chairman, Fred Meyer Osmond Guy Lawrence Willi ams AW I I DEDICATION This thesis book is dedicated to my husband, Paulo, and my son, Daudi ; also to the Fumbe clan. 1 1 1 TABLE OF CONTENTS T i 1 1 e P a g e i Dedication ii Table of Contents iii Index of Illustrative Material iv Statement of Thesis Proposal v Alternate Proposals vi Part One Definition of Genre Painting 1 Historical Background of Genre Painting ... 1 Part Two My Own Paintings 15 Letter 24 Notes on Paintings 26 Bibliography 28 IV INDEXING OF ILLUSTRATIVE MATERIAL Figure Page 1. Sibley's Dress Department a 2. Sibley's Women's Lounge b 3. My Family c 4. The Unmade Bed d 5. The Bathroom e 6. The Children f 7. Sewing g 8. The Bananas h 9. The Fruits i 10. Woman Carrying Flowers j 11.