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.

alb3627318 Emperor Antoninus Pius. Artist: Antico (Pier Jacopo Alari Bonacolsi) (Italian, Mantua ca. 1460-1528 Gazzuolo). Culture: Italian, Mantua. Dimensions: Overall without base (confirmed): H. 25 1/4 x W. 19 3/4 x D. 14 1/4 in. (64.1 x 50.2 x 36.2 cm); Height with base (confirmed): 29 7/8 in. (75.9 cm). Date: 1519-22.Working almost exclusively for the members of the Gonzaga family, frequently at their court in Mantua, Antico earned his nickname by specializing in interpretations of antique Greek and Roman sculpture. Trips to Rome on Gonzaga business afforded him occasions to see the latest discoveries of antiquities, which his patrons avidly collected; helping to acquire and repair those statues and busts gave the sculptor concrete knowledge of ancient art. His precise and elegant style owed much to the care with which he cast and chased his bronzes; this technical refinement of his work, as much as its evocation of the ancient world, appealed to generations of exacting patrons among the Gonzaga, from Gianfrancesco, to Francesco II and his famous wife Isabella d'Este, to Federico II.Isabella appears to have owned five busts by Antico dating between 1519 and 1522: Cleopatra (Museum of Fine Arts, Boston), Bacchus, Ariadne (both, Kunsthistorisches Museum, Vienna), Alexander (Liechtenstein Museum, Vienna), and Antoninus Pius, the present work. The subsequent Gonzaga ruler, her son Federico II (1500 - 1540), owned a second, later, bust by Antico of Antoninus Pius and one of his wife, Faustina, thought to be those now in the Musée du Louvre, Paris. Federico felt an affinity for this emperor and his wife and apparently had images of them integrated into the decorative scheme of the Sala di Troia in the Palazzo Ducale in Mantua.[1] Renaissance rulers frequently displayed busts of ancient leaders with whose virtues they wished to associate themselves. Astrologer Luca Gauricus called Federico a second Alexander and compared his master with other notables from Roman history.[2] Emperor Antoninus, whose sobriquet "Pius" was conferred on him by the Roman Senate in recognition of his righteousness, was known for high personal standards and was thus an appropriate exemplar for Federico. Furthermore, "Scriptores Historiae Augustae," a manuscript owned by the Gonzaga, records that the emperor was handsome and aristocratic, like Federico himself. [3] Thus, the two busts of Antoninus Pius on view in Mantua by the 1520s held slightly different connotations for their owners: for the learned and art-loving Isabella, the bust now in New York represented an exemplary figure from ancient history as well as a work of art of the highest caliber, and she displayed it with some of her other large and small bronzes on the top shelf of the grotto in her personal apartment in the Palazzo Ducale.[4] For Federico, the bust now in Paris symbolized the virtues and qualities he held dear, and evidently he displayed it in a public salon.In the 1990s the Museum's bust was linked by Ann Allison to a document of 1524 which states that the sculptor borrowed tools from the state munitions factory to finish a bust of Emperor Antoninus.[5] At that time Allison thought that the Louvre bust was made in Antico's workshop after the master's death;[6] however, a recent cleaning has revealed it to be of higher quality than previously thought, and Allison, having revised her opinion, now believes that the New York bust is the earlier of the two (1519 - 22) and that the Paris bust must be the one made in 1524. She characterizes the busts made for Isabella, including this one, as more refined than those made later for Federico. All of those in the earlier group share a scrupulous definition of the curls of hair within a flowing treatment of the whole; emphasis on the eyes through varied patinations or silvering; and strong noses and polished lips. [7]Comparison of the Museum's Emperor Antoninus Pius with ancient busts, such as one in the Munich Glyptothek, illustrates how far the artist was willing to take his interpretation. Antico's version shares the general features of its prototype, but the artist sharpened the detailing of the hair and intensified the subject's expression by graving the eyebrows and hollowing the cheeks. The deep, crisply executed locks of hair create a vibrant pattern; such technical virtuosity confirms Antico's presumed training as a goldsmith. The curls on the head join those of the beard to frame the emperor's rather pensive face. A laurel wreath crowns the head and separates the deeply worked curls from a flatter swirl of hair above the wreath. Technical examination has revealed that the head and bust were modeled separately and joined where the long neck lifts the head majestically from the shoulders. The flowing lines of the toga encircle the torso and conceal the point of juncture.[8] Confidently modeled, Antico's bust rivals the great classical portrait busts; brilliantly finished, it gives a most welcome idea of how splendid ancient examples, so often battered, must once have looked.[Ian Wardropper. European Sculpture, 1400-1900, In the Metropolitan Museum of Art. New York, 2011, no. 16, pp. 56-59.]Footnotes:[1] Ann Hersey Allison. "L'Antico e i fratelli Lombardo: Relazioni tra Venezia e le corti di Mantova e Ferrara, circa 1490-1530." In L'industria artistica del bronzo del Rinascimento a Venezia e nell'Italia settentrionale: Atti del Convegno Internazionale di Studi, Venezia, Fondazione Giorgio Cini, 23 e 24 ottobre 2007, edited by Matteo Ceriana and Victoria Avery, pp. 109-34. Verona, 2008, p. 130.[2] See E.H. Gombrich. "The Sala dei Venti in the Palazzo del Te." Journal of the Warburg and Courtauld Institutes 13, nos. 3-4 (July-December 1950), pp. 189-201, p. 200, n. 5.[3] Alessandro Luzio and Rodolfo Renier. "I Filefo e l'umanismo alla corte dei Gonzaga." Giornale storico della letteratura italiana 16 (1890), pp. 119-217, pp. 136 - 37, n. 4, notes that this manuscript was in the library of Ludovico II Gonzaga.[4] Allison 2008.[5] Ann Hersey Allison. "The Bronzes of Pier Jacopo Alari-Bonacolsi, Called Antico." Jahrbuch der Kunsthistorischen Sammlungen in Wien 89-90 (1993-94), pp. 35-310, p. 296, doc. no. 84.[6] Ibid., pp. 61, 260 - 64, no. 40. Citing a scientific study showing that the surface of the Louvre's bust has been compromised, Bernard Jestaz attributed it and the Faustina directly to Antico, dating them later, as posthumous casts, to 1536 - 39 (Jestaz in Gonzaga: La celeste galleria. Le raccolte. Exh. cat. edited by Raffaella Morselli. Palazzo Te and Palazzo Ducale, Mantua; 2002. Milan, 2002, pp. 353 - 54, no. 137). Marc Bormand (in Bonacolsi, l'Antico: Uno scultore nella Mantova di Andrea Mantegna e di Isabella d'Este. Exh. cat. edited by Filippo Trevisani and Davide Gasparotto. Palazzo Ducale, Mantua; 2008-9. Milan, 2008, pp. 266 - 68, nos. vii.5, 6) noted the better quality of the Louvre bust of Antoninus as revealed by conservation and its similarity to the New York bust.[7] James David Draper in Die Bronzen der fürstlichen Sammlung Liechtenstein. Exh. cat. by James David Draper, Johanna Hecht, and Olga Raggio. Liebieghaus, Frankfurt am Main; 1986-87. Frankfurt am Main, 1986, p. 260.[8] For a full discussion of Antico's technique, see Richard E. Stone. "Antico and the Development of Bronze Casting in Italy at the End of the Quattrocento." Metropolitan Museum Journal 16 (1981), pp. 87-116. Museum: Metropolitan Museum of Art, New York, USA.