Pesquisando por: "Small Copper" - Fotoarena - Agência de fotojornalismo

akg7989654 Prague Schoolca. 1600Painting on lapis lazuli. 14 x 9.5cm. Framed. Verso: Old handwritten note: ""Perseus befreit Andromeda, Cornelis van Poelenburgh, 1586"". Provenance: Private collection Cologne, acquired in February 1918 at auction house Lempertz, as a work by Cornelis van Poelenburgh. Cf. Literature: -Ex. cat. Die Entdeckung der Natur - Naturalien in den Kunstkammern des 16. und 17. Jahrhunderts, Vienna (Naturhistorisches Museum), Vienna 2007, p. 169ff; -Ex. cat. Prag um 1600 - Kunst und Kultur am Hofe Rudolfs II, Essen (Kulturstiftung Ruhr), Essen 1988.Perseus saving Andromeda from the dragon. Small paintings on stone were fashionable since the late 16th century. Almost all we received belong to the so-called cabinet of curiosities objects and were made as such for the collection of princes and patricians and delivered to them. Rudolph II. at the Prague court commissioned such works as well, in this context especially Hans von Aachen has to be named, who preferred alabaster panels. At the Kunsthistorisches Museum Vienna there is such a panel with the ""Befreiung der Andromeda"" (""Release of Andromeda"") (front) and the ""Entfesselung der Winde durch Aeolus und Aeneas"" (""Unleashing of the Winds by Aeolus and Aeneas"") (back), or the alabaster panels by Anton Mozart (Vienna as well) painted on both sides. Most probably the defining influences on the German (and Dutch) painters happened during their stays in Italy, especially Rome, and in the 2nd half of the 16th century. At that time, the ""small format"" occupied painters like Adam Elsheimer, Paulus Bril, Johann König, Hans von Aachen, as well as Hans Rottenhammer. Apart from various kinds of stones (like alabaster, marble, slate, or lapis lazuli), their preferred materials were especially copper (Adam Elsheimer had some of his copper plates covered in silver), as well as wood.Our appealing small panel ""Perseus and Andromeda"" economically uses painting, figures, rocks, and shrubbery, and leaves the attractive charisma to the lovely bright blue, both heaven and water.The Roman Guiseppe Cesari (1568-1640) depicted the motive several times and in various formats, among them a small, oval lapis lazuli panel (Christies New York, January 2000; today Saint Louis Art Museum), which is definitely comparable to ours.. Art trade, Van Ham.

alb3650833 Decorative grill from the Palace of Westminster. Culture: British. Designer: Augustus Welby Northmore Pugin (British, London 1812-1852 Ramsgate). Dimensions: Overall (confirmed): 21 1/2 × 12 5/8 × 5/8 in. (54.6 × 32.1 × 1.6 cm). Manufacturer: Attributed to John Hardman & Co. (British). Date: ca. 1850.These decorative grill panels exemplify the designs of Augustus Welby Northmore Pugin (1812-1852), who was the leading exponent of the Gothic Revival style in England. Pugin's work is central to the transformation in British design that began in the mid-nineteenth century. He admired what he saw as the honesty and purity of medieval art, and deplored the meaningless repetition of historical motifs. Pugin coined the phrase "Brumagen Gothic," referring to "those inexhaustible mines of bad taste, Birmingham."The medieval Palace of Westminster, much altered by later additions, was almost entirely destroyed by a devastating fire which broke out on October 16, 1834. When the last flames were finally contained five days later, only Westminster Hall and parts of the chapel were standing. The following Spring, a competition was held for the design of a modern building that could accommodate the state apartments, the House of Lords with the ceremonial spaces it required, and the House of Commons. A. W. N. Pugin collaborated with architect Charles Barry (1795-1860) in designing an exuberant tribute to Britishness. Built in the Perpendicular style, with elaborately detailed interior finishes, the decoration celebrated Britain's Arthurian and Christian heroes and the virtues of its Parliamentary system.The brass grills are one component of Pugin's complex interior program. Executed in several different patterns inspired by medieval tracery, they were typically mounted into the midsection of double-wide doors that separated private rooms from the public corridor. While a much smaller scale, the grill panels are designed with similar motifs and character to Pugin's great pierced doors that lead from the Peers' Lobby to the Chamber in the House of Lords. Pugin also designed an array of other brass fittings for the interior, including large doors, candelabra and other light fixtures, hardware, and gallery railings. These grills were manufactured by John Hardman. Museum: Metropolitan Museum of Art, New York, USA.