A study on the technique of painting through cross-analysis of literary texts by Leonardo, Vasari, Armenini, Borghini, Lomazzo and works of art, examining some significant paintings in the ...Capodimonte Museum, Naples.
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at ...Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States.
The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s.
A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries.
In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical ...situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness.This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas' preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
A Curious Case of Neglect Reynaerts, Jenny
The Rijksmuseum bulletin,
12/2023, Letnik:
71, Številka:
4
Journal Article
Recenzirano
Odprti dostop
The 'Van Lynden Collection' comprises forty-four paintings that were hung in the Lyndenstein country house in Beetsterzwaag by Baron van Lynden (1827-1896) and his mother Cornelia van Borcharen ...(1789-1864), and forty-six paintings purchased from 1860 onwards, when the baron married Maria Catharina, Baroness van Pallandt (1834-1905), for their residence in The Hague. The baroness's involvement is not mentioned in archival documents because of women's legal incapacity at the time. The article corrects this by referring to the Van Lynden-Van Pallandt Collection and discussing the history of all the works. Lyndenstein was home to an almost encyclopaedic selection of finely painted works by Dutch Romantic artists to which Van Lynden, when a young man, added paintings from exhibitions of Living Artists that mostly had already received awards. Louwrens Hanedoes, himself a painter and a relative, might have mediated and represented the baron in purchasing. In their Hague residence, Van Lynden and Van Pallandt hung modern French works painted in a loose or even sketchy manner. These were acquired during visits they made together to sales and galleries in Paris and through their commercial relationship with Goupil & Cie (from 1884 Boussod, Valadon & Cie) and the firm of Wisselingh & Co, both with branches in the Netherlands. The collection from Lyndenstein arrived in the Rijksmuseum in 1899; in 1900 it was followed by the Hague collection, which had also been bequeathed but was then donated by Baroness van Pallandt during her lifetime. It was not possible to keep the Van Lynden-Van Pallandt Collection together because of the rapid expansion of the collection of late nineteenth-century paintings, the changing appreciation of modern art and the nationalist preference for Dutch art in general and the Hague School in particular, and long-term loans to other institutions. A number of the French masterpieces were not hung permanently until after the Rijksmuseum had been renovated (2013).
In his painting and book project, Totems of Uganda: Buganda Edition (2014), Ugandan artist Taga Nuwagaba asks: What is the function of a totem? In Buganda, the historical kingdom in current-day ...Uganda, totems serve as unique identifiers for fifty-two distinct patrilineal descent groups designated as clans, or ebika in the Luganda language, forming the primary scheme of social and political organization. Yet, totems also serve as a conservation practice. In this 2022 interview, Nuwagaba discussed his art and the evidence he relies upon to create his images, demonstrating that identities and knowledges are complex.
Current Chinese policies consider tradition as the starting point for a new Chinese Renaissance. To meet contemporary, political and ecological needs, China rediscovers the millenary aesthetic of ...water and landscape, starting from its renowned philosophers, artists and gardens designers. Water’s central role in culture spans philosophical, religious and artistical fields. Since the origin of Chinese culture, renowned philosophers have associated water flow to the perfect political and moral vision. The wiseman considers water as the excellent behavioral model, in harmony with natural principles; water is indeed the mean to reach the Dao. In China, since the first studies on landscape painting, water has perfectly blended with the aesthetic vision of the landscape, becoming an integral part of it. Water exists in relation to its flowing and to its surroundings, becoming part of the landscape, not as a separated, independent element, but as a fundamental constituent.
Community McNeil, Lora
Art therapy,
01/2022, Letnik:
39, Številka:
4
Journal Article
Recenzirano
Lora McNeil, RCAT, RTC, BFA, is a Registered Canadian Art Therapist practicing within the unceded territory of Tla-o-qui-aht First Nations, Tofino, BC, Canada.
This paper examines Dutch printmaker Jan Luyken's visual strategy represented in his emblem book, Des Menschen Begin, Midden en Einde (1712). As a poet as well as a printmaker, Luyken wrote a poem in ...this book and produced image prints by himself. Jan Luyken has long been omitted from surveys of Dutch art due to the absence of archival evidence about his life and works. The themes that Luyken employed in his prints, such as parents' virtue, mother and child, and children's play, and his genre style, including doorsien, are all examples of contemporary pictorial devices of genre painting prevalent in Luyken's time. An analysis of the similarities between Des Menschen Begin, Midden en Einde and contemporary genre paintings demonstrates that Luyken's prints coincided with the development of Dutch Golden Age art. Luyken consciously employed a strategy of incorporating trendy interior items and idealized figures to make his pieces more attractive to his contemporaneous buyers. This is contrary to evaluations of him as an outdated artist indifferent to the contemporary art world.
Revolutionary Paris and the Market for Netherlandish Art restores attention to the aesthetic, intellectual, and economic link between two key periods in the history of art: the "Golden Age" of Dutch ...and Flemish painting and that of the French Revolution.
