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Morgan's Holdings of Eighteenth Century Venetian Drawings Number
Press Contacts Patrick Milliman 212.590.0310, [email protected] l Alanna Schindewolf 212.590.0311, [email protected] NEW MORGAN EXHIBITION EXPLORES ART IN 18TH-CENTURY VENICE WITH MORE THAN 100 DRAWINGS FROM THE MUSEUM’S RENOWNED HOLDINGS Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings September 27, 2013–January 5, 2014 **Press Preview: Thursday, September 26, 2013, 10:00–11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, September 3, 2013—The eighteenth century witnessed Venice’s second Golden Age. Although the city was no longer a major political power, it reemerged as an artistic capital, with such gifted artists as Giambattista Tiepolo, his son Domenico, Canaletto, and members of the Guardi family executing important commissions from the church, nobility, and bourgeoisie, while catering to foreign travelers and bringing their talents to other Italian cities and even north of the Alps. Drawn entirely from the Morgan’s collection of eighteenth-century Venetian drawings—one of Giambattista Tiepolo (1696–1770) Psyche Transported to Olympus the world’s finest—Tiepolo, Guardi, and Pen and brown ink, brown wash, over black chalk Gift of Lore Heinemann, in memory of her husband, Dr. Rudolf Their World chronicles the vitality and J. Heinemann, 1997.27 All works: The Morgan Library & Museum, New York originality of an incredibly vibrant period. The All works: Photography by Graham S. Haber exhibition will be on view from September 27, 2013–January 5, 2014. “In the eighteenth century, as the illustrious history of the thousand-year-old Venetian Republic was coming to a close, the city was favored with an array of talent that left a lasting mark on western art,” said William M. -
Mattia & Marianovella Romano
Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other. -
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. -
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. -
The National Gallery Review of The
TH E April – March NATIONAL GALLEY NATG028_P0001EDngReview2012_13August.indd 1 14/08/2012 14:22 NATG028_P0002EDngReview2012_21August.indd 2 21/08/2012 09:43 TH E NATIONAL GALLEY April – March NATG028_P0002EDngReview2012_21August.indd 3 21/08/2012 09:43 Contents Introduction 5 Director’s Foreword 6 Sir Denis Mahon (1910–2011) 7 Acquisitions 12 Loans 18 Conservation 28 Framing 34 Exhibitions and Displays 38 Education 50 Scientifi c Research 54 Research and Publications 58 Private Support of the Gallery 62 Trustees and Committees of the National Gallery Board 66 Financial Information 66 National Gallery Company Ltd 68 Cracks and Age in Paintings 70 For a full list of loans, staff publications and external commitments between April 2011 and March 2012, see www.nationalgallery.org.uk/about-us/organisation/ annual-review NATG028_P0004EDngReview2012_13August.indd 4 14/08/2012 14:26 – – will be remembered as a historic year for followed by donations to the National Gallery the National Gallery, and not least as the year in from many of our major supporters, whose which we enjoyed our most successful exhibition generosity is acknowledged elsewhere in this to date, in the form of Leonardo da Vinci: Painter at Review. We also acknowledge with thanks the the Court of Milan. The exhibition, which brought contribution of the Duke of Sutherland, who together for the fi rst time Leonardo’s two versions agreed to a reduction in the originally agreed of his great masterpiece The Virgin of the Rocks and price, to make the purchase possible. received almost universal critical acclaim, saw the In order to secure the acquisition, the National public queuing for admittance in Trafalgar Square Gallery Board took the wholly unprecedented step from the early hours of the morning. -
REMBRANDT's INFLUENCE in EIGHTEENTH CENTURY VENICE I Rembrandt's Influence on Venetian Painters and Etchers in the Eighteenth Ce
REMBRANDT'S INFLUENCE IN EIGHTEENTH CENTURY VENICE FRANKLIN W. ROBINSON I Rembrandt's influenceinfiuence on Venetian painters and etchers in the eighteenth century has been touched on but never fullyfuHy examined. A few students have dealt with the subjectIl , but it has not been the purpose of any of them to attempt a full-scalefuH-scale exploration of the many examples involved. Such is not the purpose of this short note; it is merely to suggest, by citing a few instances of Rem brandt's impact on the artists of the time, that he is a significant influenceinfiuence on Venetian art in its last great florescence.fiorescence. At first sight, such a role for Rembrandt seems incongruous, for he is the master of introspection and the expressive power of darkness. For him,hirn, ques tioning and self-doubt were the constant companions of self-confidence, and it would seem such a spirit would be alien to the grandiose, light-filledIight-filled productions that suited Venice so weIl in its gilded isolation at this time. Indeed, many of the best-known painters remained untouched by his power; Francesco and Giovanni Antonio Guardi, Canaletto, Pietro Longhi, Pellegrini, and Sebastiano and Marco Ricciz seem virtually unaware of his style. Among the most compelling reasons for the very real influenceinfiuence Rembrandt exercised on several eighteenth century Venetians, however, is the actual pres ence of many of his paintings and etchings in the city at the time. For example, there is evidence that two works by Rembrandt, "figure al naturale", were sold II Cf. Corrado Rieci, Rembrandt in Italia, Milan 1918; H. -
Profiling Women in Sixteenth-Century Italian
BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and -
Palazzo Querini Stampalia Portego
Palazzo Querini Stampalia Museum Portego entrance Giovanni Mythology Bellini room room The earliest documents concerning the construction of the palace are from 1513-14 and point to Nicolò Querini as commissioner of the works. Grandson Francesco continued the works of enlargement and restoration in various stages throughout the first half of the century. From this period archival documents note nothing of importance until the acquisitions of the following century: in 1614 the building which is now the east wing of the palace and in 1653 part of the house between the canal and the church in Campo Santa Maria Formosa. The last radical transformation of Ca’ Querini was between 1789 and 1797 for the occasion of the marriage in 1790 between Alvise, son of Zuanne, and Maria Teresa Lippomano. In addition to the elevation of the third floor, completed after 1795, there was a large scale restructuring of the interiors with the reduction of the length of the portego and the evolution of the decorative scheme on which worked Jacopo Guarana, Davide Rossi, ornamentalist Giuseppe Bernardino Bison, gilder Domenico Sartori and brothers and stucco workers Giuseppe and Pietro Castelli. The museum is presented in such a way as to recall a patrician residence of the eighteenth century with the display of all of the collections of the family: furnishings, porcelain, sculpture, fabrics, chandeliers, globes, as well as paintings, in order to bring to life the spaces once truly inhabited by the Querini. A rich theatre where every detail plays an important role, from the fabrics in some rooms woven according to original patterns, to the curtains and the pelmets which adorn the windows to the original chandeliers. -
Keith Sciberras, Baroque Painting in Malta, Midsea Publications, ISBN-10: 99932724932009, ISBN-13: 978-9993272496, 2009
Keith Sciberras, Baroque Painting in Malta, Midsea Publications, ISBN-10: 99932724932009, ISBN-13: 978-9993272496, 2009 This marvellous and huge tome provides a detailed survey of the ‘Baroque period’ in Malta. This period was marked by the realism and naturalism of Caravaggist painting, the ‘noble classicism’ of the Bolognese school, and the exuberance of the high and late Baroque periods. The period is the richest in Malta’s art history as far as ‘old paintings’ are concerned. The author, Keith Sciberras, a History of Art academic at the University of Malta with a growing international reputation for his work in the area (particularly his work on Melchiorr Cafa and Caravaggio) states that he has been researching the period for the past fifteen years. This period is represented on the island by fine works of art. The painters in question include quite a number who stamped their mark on the history of western European art. Michelangelo Merisi da Caravaggio is undoubtedly the towering figure here. Then we come across works by Guido Reni, Jusepe de Ribera (the Valenciano, known as ‘Lo Spagnoletto’, from the Borgias’ city of Xativa), Luca Giordano (‘Luca fa presto’), Giovanni Battista (Battistello) Caracciolo, Massimo Stanzione, Mattia Preti (il Cavalier Calabrese), the Dutch caravaggist Mathias Stom (or Stomer), Pietro Novelli (il Monrealese) and Andrea Vaccaro. There are also lesser known figures on the international stage such as Mario Minniti (Caravaggio’s personal friend from Syracuse), the Florentine Filippo Paladini (he came here as a result of his having been sentenced to the galleys), Matteo Perez d'Aleccio, Giuseppe Arena and Stefano and Alessio Erardi. -
Roberto Longhi and the Historical Criticism of Art
Differentia: Review of Italian Thought Number 5 Spring Article 14 1991 The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art David Tabbat Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Tabbat, David (1991) "The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art," Differentia: Review of Italian Thought: Vol. 5 , Article 14. Available at: https://commons.library.stonybrook.edu/differentia/vol5/iss1/14 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art David Tabbat Bernard Berenson once observed that Vasari's greatest strength as a writer was that sure instinct for narrative and char acterization which made him a worthy heir of Boccaccio. Lest his readers misconstrue this appreciation of Vasari's "novelistic ten dency" as a denigration of his work when judged by purely art historical criteria, Berenson added that the author of the Lives "is still the unrivaled critic of Italian art," in part because "he always describes a picture or a statue with the vividness of a man who saw the thing while he wrote about it." 1 To a remarkable degree, these same observations may aptly introduce the work of Roberto Longhi (1890-1970),2who is often regarded by the Italians themselves (whether specialists or inter ested laymen) as the most important connoisseur, critic, and art historian their country has produced in our century. -
Portego ENG Museum of Palazzo Mocenigo
Portego ENG Museum of Palazzo Mocenigo Flanked by the other rooms, this large central hall is typical of the structure of Venetian palazzi and was used for celebrations and official occasions. The paintings on display here are either nearly all portraits of the Mocenigo family or depict events in which they were involved. Four of the large portraits of the walls (1,2,4,5) are of the sovereigns under whom the Mocenigo family were ambassadors, while two of the seven doges from the family are portrayed above the door (6,8) and the others (18, 28,38,40,41) in the long frieze below the ceiling– inspired by the one in the Sala del Maggior Consiglio in the Doge’s Palace -, together with numerous illustrious members of the family. The walls were decorated with architectural motifs by Agostino Mengozzi Colonna in 1787. The itinerary to visit the museum begins in the room on our right, looking at the main entrance, with its marble double door. Captions on the back In black if the work belongs to the palazzo In grey if the work comes from other collections >>> Please return this card Portego ENG Walls 1. French scene? , 17th cent. Portrait of King Louis XIV (?) 29 oil on canvas, 1670 30 9 th Room 7 2. Manner of Peter Lely, 17 cent. 10 Room 5 Portrait of King Charles II Stuart 28 oil on canvas, 1651 31 3. Veneto scene, 17th cent. 27 2 Portrait of procurator Alvise Mocenigo 32 oil on canvas, 1621 th 26 4. Flemish scene? 17 cent. -
Press Dossier
Press Dossier National Museum of Ancient Art 19 May - 10 September 2017 Nota de prensa This is the first exhibition resulting from the alliance established by ”la Caixa” Banking Foundation and the BPI to implement social and cultural projects in Portugal Madonna. Portugal Presents Treasures from the Vatican Museums • The MNAA, ”la Caixa” Banking Foundation and the BPI present Madonna. Treasures from the Vatican Museums. The exhibition features a selection of works from the famous collections of the Vatican Museums, particularly the extraordinary art gallery. • The show takes visitors on a chronological journey spanning nearly one thousand years, from late Antiquity to the modern age, taking the iconography of Our Lady as its central theme. • The works on show include paintings by “Primitive” Italian artists (Taddeo di Bartolo, Sano de Pietro, Fra Angelico) and great Renaissance and Baroque masters (Rafael, Pinturicchio, Salviati, Pietro da Cortona, Barocci), as well as outstanding tapestries and manuscripts from the Vatican Apostolic Library. • The exhibition is the first fruit from the cultural sponsorship programme established by ”la Caixa” Banking Foundation and the BPI after the two institutions announced their intention to jointly promote social and cultural projects in Portugal over the coming years. Madonna. Treasures from the Vatican Museums . Dates : 19 May - 10 September 2017. Place : National Museum of Ancient Art (R. das Janelas Verdes). Concept and production : ”la Caixa” Banking Foundation, Vatican Museums, National Museum of Ancient Art and BPI. Curators : Alessandra Rodolfo (Vatican Museums) and José Alberto Seabra Carvalho (MNAA). @FundlaCaixa Nota de prensa Lisbon, 16 May 2017. Antônio Filipe Pimentel, director of the National Museum of Ancient Art; Elisa Durán, assistant general manager of ”la Caixa” Banking Foundation; José Pena Amaral, of the BPI Executive Board; and the curators of the exhibition, Alessandra Rodolfo and José Alberto Seabra Carvalho today presented Madonna.