Scenes from History Moldau Where They Felt Secure Against Attacks
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Kunstkammer Wien a Selection of Important
KUNSTKAMMER WIEN A SELECTION OF IMPORTANT OBJECTS „Krumau Madonna“ Prague (?), c. 1400 Sandstone, cloak originally white and blue, hair and edge of clothes gilt Provenance: acquired in 1913 for the Imperial Collections Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 10156 This sculpture was discovered around 1900 in Krumau in southern Bohemia. It is a perfect example of the „beautiful Madonnas“ so popular in the art around 1400. The Virgin with Child is shown as both the Queen of Heaven and a loving mother. Characteristics of courtly refinement, such as the rich and heavy drapery, idealised features and her gilt hair, are combined with verisimilitude, e.g. the body of the baby. This Gothic masterpiece is clearly informed by the art at the court in Prague. Salt Cellar (Saliera) Benvenuto Cellini (Florence 1500 – 1571 Florence) Paris, made between 1540 and 1543 Gold, partly enamelled; ebony, ivory, Provenience: from the Kunstkammer of Archduke Ferdinand II of Tirol at Ambras; presented to the Archduke by King Charles IX of France in 1570 Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 881 The only extant goldsmith work by the celebrated Renaissance artist, Benvenuto Cellini, perfectly reflects the refined taste of contemporary courtly society. We know it served as a container for the expensive spices, salt and pepper, but the complex pictorial programme culminates in an allegory of the cosmos (complete with the god of the ocean and the goddess of the earth, animals, the four winds and the four times of the day) dominated by the arms and emblems of the patron who commissioned it, Francois I of France (ruled 1515-1547). -
2020-ERIC-Prague-Bulletin
2020 European Rowing Indoor Championships / 2020 Czech Rowing Indoor National Championships Královka Hall Nad Královskou oborou 1080/51 170 00 Praha 7 Prague, Czech Republic Saturday, January 11, 2020 1 The European Rowing Confederation (ERC), in partnership with the Czech Rowing Association and Concept2, are proud to host the 2020 European Rowing Indoor Championships and the 2020 Czech Rowing Indoor National Championships on Saturday, January 11, 2020, at the Královka Hall in Prague. Please read this bulletin in its entirety, as it contains important information about this year’s event. 2 Table of Contents Important Dates ....................................................................................................................... 4 Organising Comittee ................................................................................................................. 4 Event List:................................................................................................................................. 5 Entry Information: .................................................................................................................... 7 Entry Fees: .................................................................................................................................... 8 Withdrawals: ................................................................................................................................ 8 Competition Information ......................................................................................................... -
Adriaen De Vries
E DUVEEN BROTHERS Paris Library Class No. Stock No. ::::::::::::::::::::::: FROM THE LIBRARY OF { <=*Puveen d^fyroiliers, C^Jnc. 720 FIFTH AVE. NEW YORK O/o. /^l M BOUNQ BY S.Georoe Street, MANCHESTER S?W. BEITRÄGE ZUR KUNSTGESCHICHTE NEUE FOLGE. XXV. I ADRIAEN DE VRIES VON CONRAD BUCHWALD O MIT ACHT TAFELN O LEIPZIG VERLAG VON E. A. SEEMANN 1899. Dem Andenken MEINER MUTTER Digitized by the Internet Archive in 2014 https://archive.org/details/adriaendevriesOObuch Inhalt Seite I. Einleitung I II. Lehrzeit io III. In Augsburg 14 IV. In Diensten Rudolfs II 32 V. Arbeiten für den Fürsten Ernst von Schaumburg 63 VI. Die Brunnen für Fredriksborg und Danzig 74 VII. Aufträge Wallensteins 83 VIII. Schluss 92 IX. Verzeichnis von Werken des Adriaen de Vries 98 Anmerkungen 104 I Einleitung Ein glücklicher Fund war die Veranlassung zu vorliegender Arbeit. In der Kirche des Dorfes Rothsürben unweit Breslaus entdeckte ich zufällig ein gänzlich unbekanntes Werk des Adriaen de Vries. Adriaen de Vries hat keinen Namen in der Kunstgeschichte. Aeltere Nachrichten, die sich über ihn hier und da finden, sind dürftig, auch nicht frei von Widersprüchen und Fehlern. Karl van Mander erwähnt ihn kurz an einzelnen Stellen seines Schilder- buchs, Sandrart bringt zuerst eine Art von Biographie des Künstlers. Er giebt als dessen Geburtsort „Gravenhaag" an und erzählt, dass er „von der Natur selbst zum Bildhauer angetrieben sehr viele Lebens- grosse Bilder von Stein, Wachs und Erden gemacht, solche auch hernachmals in Metall gegossen und sich durch die stete Uebung mehr als kein anderer zu seiner Zeit in Ruhm gebracht, wie dieses seine sehr lobwürdige Werke erstlich in Italien allwo er die Antiken aufs genaueste ergründet an Tag legen, dann er in der Akademie zu Florenz immerzu der beste gewesen". -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Matthias Bernhard Braun auf seinem Weg nach Böhmen“ Verfasserin Anneliese Schallmeiner angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien 2008 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin / Betreuer: Ao Prof. Dr. Walter Krause Inhalt Seite I. Einleitung 4 II. Biographischer Abriss und Forschungslage 8 1. Biographischer Abriss zu Matthias Bernhard Braun 8 2. Forschungslage 13 III. Matthias Bernhard Braun auf seinem Weg nach Böhmen 22 1. Stilanalytische Überlegungen 22 2. Von Stams nach Plass/Plasy – Die Bedeutung des Zisterzienserordens – 27 Eine Hypothese 2.1. Brauns Arbeiten für das Zisterzienserkloster in Plass/Plasy 32 2.1.1. Die Kalvarienberggruppe 33 2.1.2. Die Verkündigungsgruppe 36 2.1.3. Der Bozzetto zur Statuengruppe der hl. Luitgard auf der Karlsbrücke 39 3. Die Statuengruppen auf der Karlsbrücke in Prag 41 3.1. Die Statuengruppe der hl. Luitgard 47 3.1.1. Kompositionelle und ikonographische Vorbilder 50 3.1.2. Visionäre und mysthische Vorbilder 52 3.2. Die Statuengruppe des hl. Ivo 54 3.2.1. Kompositionelle Vorbilder 54 3.2.2. Die Statue des hl. Franz Borgia von Ferdinand Maximilian Brokoff als 55 mögliches Vorbild für die Statue des hl. Ivo 4. Die Statue des hl. Judas Thaddäus 57 5. Brauns Beitrag zur Ausstattung der St. Klemenskirche in Prag 59 5.1. Evangelisten und Kirchenväter 60 5.2. Die Beichtstuhlaufsatzfiguren 63 6. Die Bedeutung des Grafen Franz Anton von Sporck für den Weg von 68 Matthias Bernhard Braun nach Böhmen 6.1. -
Bernini Struts
Part II Material and Social Transformations 3 Bernini Struts Michael Cole Few works in the history of sculpture are more admired for the sheer skill of their carving than Gianlorenzo Bernini’s Apollo and Daphne (figure 3.1). Charles Avery counts it among the pieces that established Bernini as ‘‘the greatest sculptor in the world.’’1 Peter Rockwell maintains that ‘‘any sculptor who looks at Bernini’s Apollo and Daphne can only come away astonished.’’2 And Howard Hibbard concludes his discussion of the statue by suggesting that it is too dazzling, showing ‘‘a quality of immature excess, of virtuosity for its own sake.’’3 The Apollo and Daphne has come to stand as the perfect antithesis to the modernist principle of ‘‘truth to materials,’’ the ultimate illustration of the artist defying his medium’s very nature. Indeed, it has become difficult, in view of the Apollo and Daphne, to imagine what Bernini could not make marble do. No wonder Jennifer Montagu caused a small sensation when she argued that its most famous features were executed by Bernini’s gifted assistant Giuliano Finelli rather than by the master himself.4 Bernini began the Apollo and Daphne in 1622 and had largely completed it by 1624, the last year of his employment with Cardinal Scipione Borghese. Roughly contemporary with the sculptor’s David (1623–4) and still standing in the building for which it was made, it represents the culmination of a series of works that, as Rudolf Preimesberger sug- gested in a classic article, ask to be measured collectively against a sixteenth-century, largely Florentine, tradition.5 The Apollo and Daphne and the other statues Bernini made for the Cardinal were collectors’ pieces, appealing explicitly to a cultivated audience with a historical sensibility and a keen awareness of sculptural practice. -
The Craftsman Revealed: Adriaen De Vries, Sculptor
This page intentionally left blank The Craftsman Revealed Adriaen de Vries Sculptor in Bronze This page intentionally left blank The Craftsman Revealed Adriaen de Vries Sculptor in Bronze Jane Bassett with contributions by Peggy Fogelman, David A. Scott, and Ronald C. Schmidtling II THE GETTY CONSERVATION INSTITUTE Los ANGELES The Getty Conservation Institute Timothy P. Whalen, Director Jeanne Marie Teutónico, Associate Director, Programs The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world's cultural heritage. Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu © 2008 J. Paul Getty Trust Gregory M. Britton, Publisher Mark Greenberg, Editor in Chief Tevvy Ball, Editor Sheila Berg, Copy Editor Pamela Heath, Production Coordinator Hespenheide Design, Designer Printed and bound in China through Asia Pacific Offset, Inc. FRONT COVER: Radiograph of Juggling Man, by Adriaen de Vries. Bronze. Cast in Prague, 1610–1615. J. Paul Getty Museum, Los Angeles. Inv. no. 90.SB.44. Library of Congress Cataloging-in-Publication Data Bassett, Jane. The craftsman revealed : Adriaen de Vries, sculptor in bronze / Jane Bassett ; with contributions by Peggy Fogelman, David A. Scott, and Ronald C. -
Pappot Wiersma Jonghelinck TEXT FIGURES And
Jacques Jonghelinck (1530-1606), bronze sculptor of the Low Countries in the 16th century Arie Pappot and Lisa Wiersma Abstract Today, the sculptural oeuvre of Jacques Jonghelinck (1530-1606) is scattered over the world, and has not received much technical attention. A comparison between his works and that of Leone and Pompeo Leoni (1509-1590 and 1533-1608) tells us more about the impact of Italian bronze sculpture on the techniques of Netherlandish workshops, and helps determine the characteristics of Jonghelinck's bronzes. In both workshop practice and his use of materials, Jonghelinck clearly followed his Milanese employer. Alas, not that many monumental sculptures left the artist's workshop, but the pieces that did demonstrate his artistic resourcefulness. In this paper, particular attention is paid to the Planet Series to support this statement. Additionally, we argue that the artist might have been trained by an Augsburg master, as a result of which he would have become the perfect Renaissance bronze sculptor with an outstanding background in goldsmithing. Introduction Jacques Jonghelinck was one of many Netherlandish artists of his generation who spent time in Italy.1 He was born and raised in Antwerp, worked in the Leoni workshop in Milan around 1552, and settled in Brussels and later in Antwerp as a court sculptor, medallist and mint master. Few examples of monumental metal sculpture are known from the Low Countries in the first half of the 16th century, the period preceding Jonghelinck's career. The flourishing production of sculptures in brass - including, for instance, the late gothic Mary of Burgundy in Bruges – declined. -
Curriculum Vitae Reto Gieré
Curriculum Vitae Reto Gieré Department of Earth and Environmental Science and Center of Excellence in Environmental Toxicology University of Pennsylvania 240 S. 33rd Street, Hayden Hall Philadelphia, PA 19104-6316, USA Office Phone: 215-898-6907 E-mail: [email protected] Department: https://www.sas.upenn.edu/earth Journal of Petrology: http://petrology.oupjournals.org European Journal of Mineralogy: https://www.european-journal-of-mineralogy.net April 2021 Education 1995 Habilitation (Venia Docendi) in Earth Sciences, Universität Basel, Switzerland 1990 Ph.D. in Earth Sciences, ETH Zürich, Switzerland Thesis title: "Quantification of element mobility at a tonalite/dolomite contact (Adamello Massif, Provincia di Trento, Italy)". Supervisors: V. Trommsdorff (ETH Zürich), H.J. Greenwood (UBC Vancouver), and F. Oberli (ETH Zürich) 1988–1989 Visiting Graduate Student, University of British Columbia, Vancouver (Canada). Graduate studies in Thermodynamics. Advisors: H.J. Greenwood, T.H. Brown 1984 Diploma in Earth Sciences, ETH Zürich, Switzerland Thesis title: "Geology and petrography of the eastern Bergell contact aureole" (in German language). Supervisors: V. Trommsdorff (ETH Zürich), V. Dietrich (ETH Zürich), A. Montrasio (Università degli Studi, Milano) Language skills Fluent in five languages: English, German, French, Italian, Romansh Current Position Since 2015 Professor, Department of Earth and Environmental Science, and Member of the Center of Excellence in Environmental Toxicology, University of Pennsylvania, Philadelphia, USA Previous -
Thomas Dacosta Kaufmann 146 Mercer Street Princeton, N.J
Thomas DaCosta Kaufmann 146 Mercer Street Princeton, N.J. 08540 Tel: 609-921-0154 ; cell : 609-865-8645 Fax: 609-258-0103 email: [email protected] CURRICULUM VITAE Education Collegiate School, New York, valedictorian Yale University, B.A., summa cum laude with exceptional distinction in History, the Arts and Letters, 1970 Yale University, M.A., with Honors, in History, 1970 Warburg Institute, University of London, M.Phil. Dissertation: Theories of Light in Renaissance Art and Science (Advisor: E. H. Gombrich), 1972 Harvard University, Ph. D., in Fine Arts Dissertation: “Variations on the Imperial Theme; Studies in Ceremonial Art, and Collecting in the Age of Maximilian II and Rudolf II” (Advisor: J. S. Ackerman), 1977 Employment Princeton University, Department of Art and Archaeology Frederick Marquand Professor of Art and Archaeology, 2007- Assistant Professor, 1977-1983; Associate Professor, 1983-1989; Professor, 1989-; Junior Advisor, 1978-1980; Departmental Representative (i.e., vice-chair for Undergraduate Studies, and Senior Advisor), 1983-1987, 1990-1991 Chairman, Committee for Renaissance Studies, 1990-93 University of San Marino, History Department, Professor, Lecture Cycle, 2010 Summer Art Theory Seminar, Globalization, School of Art Institute of Chicago, 2008, Professor Forschungsschwerpunkt Geschichte und Kultur Ostmitteleuropa (former Academy of Sciences, Berlin; Max-Planck-Gesellschaft), Visiting Professor, 1994 Herzog Anton Ulrich Museum, Braunschweig, Stiftung Niedersachsen, Summer Course, Visiting Professor, 1994 University of Pennsylvania, Department of Art History Visiting Professor, 1980 Awards, Fellowships, and other Distinctions Elected Member, Latvian Academy of Sciences, 2020 Honorary Doctorate (Doctor historiae artrium, h.c.), Masaryk University, Brno, 2013 Wissenschaftlicher Gast, Kunsthistorisches Institut in Florenz, 2013 Nina Maria Gorissen Fellow in History (Berlin Prize Fellowship), American Academy in Berlin, 2013 Honorary Doctorate (Doctor phil. -
Exhibiting Central European Baroque Art in Cold War Britain: ‘The Works Themselves Refute Geographical Separatism’
Exhibiting Central European baroque art in Cold War Britain: ‘The works themselves refute geographical separatism’ Verity Clarkson This article analyses the organization and reception of one exhibition of baroque art, Baroque in Bohemia. 1 Organized collaboratively across the Iron Curtain, it formed part of an official governmental programme of cultural exchanges between Britain and Czechoslovakia. It was shown in two British locations in the summer and autumn of 1969: firstly, London’s Victoria and Albert Museum (henceforward V&A) and later the City Museum and Art Gallery in Birmingham.2 The press release summarized its content as ‘Baroque sculpture, paintings, glass, silver, ecclesiastical vestments and metalwork ranging in date from the beginning of the seventeenth to the end of the eighteenth century’, noting that the exhibition aimed to trace ‘the evolution of the Bohemian Baroque in all its aspects’.3 Exhibits were drawn mostly from Czech sources, predominantly museum collections in Prague and churches in Bohemia.4 However, planning the show was a more collaborative effort, requiring co-operation between a number of administrative and governmental bodies both across the East-West divide and within each individual country. The Czechoslovak Ministry of Culture took a lead role alongside various Czech museums, notably the National Gallery in Prague. Various British cultural and governmental organizations also worked together to realize the exhibition. The nominally apolitical Arts Council of Great Britain was in charge of general administration -
Forgotten Baroque Borderland
Originalveröffentlichung in: Wasilewska, Joanna (Hrsg.): Poland - China : art and cultural heritage, Kraków 2011, S. 63-72 , Abb. 1-8 Jan K. Ostrowski Jagiellonian University, Krakow Forgotten Baroque Borderland Manuals on European modern art concentrate extensively on Italy, Flanders, Holland and France. Much less attention is paid to Spain, Germany, Austria, England and Rus sia. Poland receives at best one or two pages with a short and usually superficial de scription of arbitrarily chosen works from its largest centers, such as Krakow and War saw. The present article does not intend to question such a traditional artistic hierarchy. It is only an attempt to draw the attention of foreign art historians to certain artistic phenomena of high quality, or rather to a large artistic region about which one can find hardly any information in international literature on art. First of all, I propose a few definitions and explanations. Ihe notion of Poland of the sixteenth to the eighteenth century includes the present territories of Poland, Lithua nia, Belarus and Ukraine. Analogically, Lithuania embraced present tiny Lithuania, much greater Belarus and even some parts of Greater Russia. The Polish-Lithuanian union was dominated by a Polish-speaking and Roman Catholic population, while a large Eastern portion of the country preserved up to the end a majority which spoke Ruthenian (not Russian!) and belonged to the Eastern Church (not necessarily Ortho dox). In a few words, the territory situated roughly between the present Eastern border of Poland and the Dneper-Dvina line presented in the sixteenth-eighteenth centuries (and even later) an extremely complicated ethnic, religious and cultural picture. -
EUSAR 2021 Program
Program 13th European Conference on Synthetic Aperture Radar Online Event March 29 - April 1, 2021 The given times in the program www.eusar.de schedule are according to the German Local Time (CEST) Check at: https://www.worldtimebuddy.com/ Organized by Technically sponsored by EUREL • URSI • DGON Welcome Message of the General Chairman Dear SAR community/EUSAR partners and friends, At this point I would like to thank everybody for your long lasting loyalty in attending the EUSAR confer- A warm welcome to all EUSAR members and ences since more than two decades. followers! Best regards, take care and stay healthy, I´m happy to confirm that the postponed EUSAR Conference will take place from March 29 - April 1, 2021 as a virtual digital conference. In these times of crisis, in particular, the EUSAR board members would like to continue to offer our community a platform for intensive scientific and professional exchange. We feel responsible to give especially all authors the pos- sibility for publishing and presenting their submitted outstanding papers and posters, what means one of © Matthias Weiß the conference values. Besides this, the discussions Michael Loercher, HENSOLDT of the attending industry, research and public sector EUSAR 2021 Conference Chairman leaders inventing and providing ideas and sugges- tions for tomorrow’s innovative technology develop- ments to protect our global world. Please note already in your calendars, that the next EUSAR Conference 2022, hosted from Hensoldt AG, will take place in April 2022 in Leipzig. © Hensoldt EUSAR 2021 Welcome Message of the Technical Chairman It’s a great pleasure to welcome you to the At the closing session on the last day of the confer- 13th European Conference on Synthetic Aperture ence a Best Paper Award, a Best Poster Award, and Radar (EUSAR) 2021 which will be the first virtual three Best Students Awards will be presented.