Pesquisando por: "JOHN WHITE ALEXANDER" - Fotoarena - Agência de fotojornalismo

alb3673735 [Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]. Artist: Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.). Dimensions: Sheet: 60.5 x 31.3 cm (23 13/16 x 12 5/16 in.)Each photograph: 8.6 x 5.4 cm (3 3/8 x 2 1/8 in.). Maker: Unknown (American). Photography Studio: Silsbee, Case & Company (American, active Boston); Unknown. Date: April 20, 1865.On the night of April 14, 1865, just five days after Lee's surrender to Grant at Appomattox, John Wilkes Booth shot Lincoln at the Ford Theatre in Washington, D.C. Within twenty-four hours, Secret Service director Colonel Lafayette Baker had already acquired photographs of Booth and two of his accomplices. Booth's photograph was secured by a standard police search of the actor's room at the National Hotel; a photograph of John Surratt, a suspect in the plot to kill Secretary of State William Seward, was obtained from his mother, Mary (soon to be indicted as a fellow conspirator), and David Herold's photograph was found in a search of his mother's carte-de-visite album. The three photographs were taken to Alexander Gardner's studio for immediate reproduction. This bill was issued on April 20, the first such broadside in America illustrated with photographs tipped onto the sheet.The descriptions of the alleged conspirators combined with their photographic portraits proved invaluable to the militia. Six days after the poster was released Booth and Herold were recognized by a division of the 16th New York Cavalry. The commanding officer, Lieutenant Edward Doherty, demanded their unconditional surrender when he cornered the two men in a barn near Port Royal, Virginia. Herold complied; Booth refused. Two Secret Service detectives accompanying the cavalry, then set fire to the barn. Booth was shot as he attempted to escape; he died three hours later. After a military trial Herold was hanged on July 7 at the Old Arsenal Prison in Washington, D.C.Surratt escaped to England via Canada, eventually settling in Rome. Two years later a former schoolmate from Maryland recognized Surratt, then a member of the Papal Guard, and he was returned to Washington to stand trial. In September 1868 the charges against him were nol-prossed after the trial ended in a hung jury. Surratt retired to Maryland, worked as a clerk, and lived until 1916. Museum: Metropolitan Museum of Art, New York, USA.

alb3633603 Paradise. Artist: Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42-1609 Ancona). Dimensions: 15 7/8 × 44 13/16 in. (40.3 × 113.8 cm). Date: 1565-77.The present drawing is study for the fresco designed for, but never executed in, the Sala del Maggior Consiglio of the Doges' Palace, Venice. In this representation of Paradise, Christ is seated in judgment at the center and flanked by the Virgin and Saint John the Baptist who intercede for mankind. At the right appear a throng of Old Testament figures dominated by Adam, Eve, and Moses with the tablets of the law. At the left are ranged a host of saints of the New Dispensation: Saint Peter and Saint Paul with the other Apostles, Saint Catherine of Alexandria, Saint Lawrence, Saint Sebastian, Saint Francis, Saint Dominic, and many others. God the Father appears in glory at upper center, while the central foreground is occupied by angel musicians. Hermann Voss, who first published this drawing, suggested that it is Federico Zuccaro's project for the redecoration of the end wall of the Sala del Maggior Consiglio in the Palazzo Ducale after the fire of 1577. However, Walter Vitzthum pointed out the testimony of Vasari in the 1568 edition of the Lives and the stylistic evidence of the drawing itself indicate that this project is earlier; it must date from Federico's first visit to Venice in the mid 1560s. This Paradise may have been intended to replace Guariento's probably damaged Coronation of the Virgin on the end wall, more than a decade before the 1577 fire. In the Metropolitan Museum of Art's project, the reserves in the paper indicate the placement of the two doors that pierce the wall and of the top of the back of the central bench. The six pendentives indicated at the top margin suggest that Federico proposed a vaulted ceiling for the great room, instead of the flat wooden ceiling that at this narrow end was originally supported by eleven corbels. In the Musée du Louvre, Paris, there is another large design for the same scheme (Inv. 4546), which differs from our drawing most notably in that the central subject is the Coronation of the Virgin. Though later in his career Federico Zuccaro executed a painting for the Sala del Maggior Consiglio (Frederick Barharossa Submitting to Pope Alexander III), the Paradise that eventually replaced Guariento's Coronation is a late work of Jacopo Tintoretto. New information concerning the Paradise in the Sala del Maggior Consiglio has recently been supplied by Juergen Schulz. Museum: Metropolitan Museum of Art, New York, USA.

alb3662140 Ulysses at the Table of Circe (The Odyssey of Homer). Artist: After John Flaxman (British, York 1755-1826 London). Dimensions: Image and text: 7 11/16 × 10 1/4 in. (19.5 × 26.1 cm). Engraver: James Parker (British, London 1750-1805 London). Published in: London. Publisher: John and Arthur Arch (London); Jane Matthews (London); William Miller (London); Longman, Hurst, Rees, Orme and Brown (London). Subject of book: Homer (Greek, active 13th or 8th century BCE); Aeschylus (Greek, ca. 525 B.C.-ca. 455 B.C. Gela, Sicily); Hesiod (Greek, active ca. 700 BCE). Date: 1805.Flaxman, the finest British sculptor of the late eighteenth century, achieved international acclaim for his spare outline illustrations to Homer, Aeschylus and Dante. Before he arrived in Rome in 1787, Flaxman exhibited portraits and classical subjects in terracotta and plaster in London, and designed decorative reliefs for Josiah Wedgwood. During the seven years he spent in Italy, the sculptor developed a striking new style of outline drawing to illustrate Homer's Iliad and Odyssey for private patrons, and the images were then engraved and published in Italy, France and Britain. Contemporaries saw these images as strikingly primitive, echoing the style of Greek vase painting, and well suited to archaic poetic subjects. Flaxman preferred to represent figures in profile, based furniture and costume on ancient sources, and used open expanses of white paper to great psychological effect.Here, Odysseus (or Ulysses) engages in a test of wills with the beautiful sorceress Circe, who tempts the hero to partake of enchanted food and drink, already used to turn his companions into swine. Lines of poetry below come from a 1726 translation of Homer's Odyssey by Alexander Pope:Circe in vain invites the feast to share;Absent I ponder, and absorb'd in care;While scenes of woe rose anxious in my breast,The queen beheld me, and these words address'd:"'Why sits Ulysses silent and apart,Some hoard of grief close harbour'd at his heartUntouch'd before thee stand the cates [food] divine,And unregarded laughs the rosy wine.". Museum: Metropolitan Museum of Art, New York, USA.