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Venlet, Richard
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... 26 x 3.8 cmRijksmuseum Twenthe, Enschede, inv./cat.nr. 5068...
... . 5072Prov.: purchased from the artistExh.: Uit Depot: Ruimtelijk werk...
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... at.nr. 5070Exh.: Six Flemish Artists, Jack Tilton Gallery, New Y...
... . 5071Prov.: purchased from the artistExh.: Confrontatie & confron...
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... . 5074Prov.: purchased from the artist, 1991Exh.: Richard Venlet, Art ...
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Hanegem, Ab van
... issingen 1960 ...
... r. 4861Prov.: purchased from the artist, 1988Exh.: Museum Fodor, 1988; A...
... ischmann (cold fusion), 1991oil on canvas, 74 x 53,5 cmRijksmuseum Twenthe, Enschede, inv./cat.nr. 4863...
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... 26 cmverso: ' Ab v. Hanegem '92 'Rijksmuseum Twenthe, Enschede, inv. 4862...
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Verkerk, Emo
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... msterdam, 19.11 1988 - 1.1. 1989, nr. 5Lit.: Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 44 (ill.)...
... 3Lit.: Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 43 (ill.)...
... 26/30 Emo Verkerk 1981Rijksmuseum Twenthe, Enschede, inv./cat.nr. 5111Kunstmuseum Den Haag, The Hague, inv./cat.nr. 10054...
... isser / Emo Verkerk 1981Rijksmuseum Twenthe, Enschede, inv./cat.nr. 5095Exh.: Emo Verkerk, Stedelijk Museum Amsterdam, 19.11 ...
... 1988 - 1.1. 1989, nr. 36Lit.: Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 59 (ill.)...
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... g 18.2 - 20.5 2012Lit.: Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 42 (ill.)...
... isenstein / Emo Verkerk / 1989Kunstmuseum Den Haag, The Hague, inv./cat.nr. 1005480...
... Lit.: Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 108 (ill.)...
... 26 cmverso: 18/24 Emo VerkerkRijksmuseum Twenthe, Enschede, inv./cat.nr. 5117Kunstmuseum Den Haag, The Hague, inv....
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (il...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (il...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 74/75 (i...
... .12 2007 / 9.3 2008Lit.: Hans Janssen, Laura Stamps, Emo Verkerk: de 100 mooiste tekeningen, Den Haag, Zwolle 2009, p. 10 (ill.)...
... isson, 1992-1993bronze, 36 x 25 x 21 cmRijksmuseum Twenthe, Enschede, inv./cat.nr. 5090Exh.: Uit Depot...
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... ist), 2000wood, pencil, glass, earthenware (material), copper, 74 x 49 x 23 cmRijksmuseum Twenthe, Enschede, inv...
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... Haag, The Hague, inv./cat.nr. 1049426Lit.: Hans Janssen, Emo Verkerk, ...
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Lord, Andrew
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... r. KM-133.413Prov.: purchase from the artist (1978?)Exh.: Depot VBVR: Cragg, Flana...
... ish, patterned, c. 1978terracotta, 3,5 x 37,7 x 22,5 cmKröller-Müller Museum, Otterlo, inv./cat.nr. KM-1...
... tterlo, inv./cat.nr. KM-133.415Prov.: purchase from the artist...
... 26,8 x 18 x 17 cm; 19,5 x 16,5 x 18,2 cmKröller-Müller Museum, Otterlo, inv./cat.nr. KM-133.419Exh.: Uit Depot: Ruimtelijk...
... um Twenthe 14.6 - 7.9 2003; Depot VBVR: Cragg, Flanagan, Gilbert & George, Long, Lord, Pope, Rijksmuseum Twenthe 7.6 - 14.9 2008Lit.: Lisette Pelsers, Adriaan van Ravesteijn, Andrew Lord: Nieuwe Sculptuur / New Sculpture (exh. cat. Enschede: Rijksmuseum Twenthe) 2003, p. 40...
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Lindberg, David
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... 26 x 30 cmKröller-Müller Museum, Otterlo, inv./cat.nr. KM-133.396Prov.: purchased from Galerie Swart, Amsterdam...
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Clemente, Francesco
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... -Müller Museum, Otterlo, inv./cat.nr. KM-133.269...
... Lit.: Adeline von Furstemberg, Francesco Clemente: Gratis, Genova 1978 (ill.)...
... 26.3 cmKröller-Müller Museum, Otterlo, inv./cat.nr. KM-133.277Exh.: 6th International Contemporary Art Fair, Los Angeles, 20.1...
... inv./cat.nr. KM-133.278Prov.: purchased from the artist, 1978Exh.: Art & Project 1978; Stand Art &...
... 26 x 13 cmKröller-Müller Museum, Otterlo, inv./cat.nr. KM-133.282...
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Ruppersberg, Allen
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... a): 22.9 x 20.3 cm; composition and sheet (.b): 26.7 x 18.3 cm; composition (.c, irreg.): 33.7 x...
... dam : travels in conceptual art, 1960-1976 MoMA, New York 15.7 -26.10 2009Lit.: Cherix/Liese 2009, p. 144...
... mp; out of Amsterdam : travels in conceptual art, 1960-1976 MoMA, New York 15.7 -26.10 2009Lit.: Allen Ruppersberg, Stedelijk Museum Amsterdam 1973; Cherix/Liese ...
... Is it a...?), 1974screenprint and one duplicate copycomposition (irreg.): 49.5 x 48 cm; sheet: 50 x 48 ...
... ist's book, 30.2 x 24.1 cmThe Museum of Modern Art, New York, inv. 557.2007.a-dAlso see: RKD, Art & Project Archive, 05...
... ith ink additionscomposition: 26 x 19.8 cm; sheet: 28 x 21.6...
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4.2 Gerard van Honthorst’s First Work in Italy?
... ints out the stylistic and iconographic similarities with other works by the painter, and it seems highly plausible that young Gerard committed himself to the altarpiece, though Papi himself admitted that there is some weakness in the depiction, which might suggest another hand or later additions.22 I agree with his analysis that the work betrays the knowledge of Roman art, especially, of course, that of Caravaggio.23 At the same time, though, the figure of Christ seems to be indebted to his teacher, Abraham Bloemaert, in its posture and figure type. Take, for example, the Christ and the Samaritan Woman by Bloemaert [14]. As the supposed date of execution of this work ranges from 1605 to around 1617/8,24 and as there are just a few dated works by Bloemaert in 1610s, it is impossible to ascertain that the young Gerard knew the work before his departure for Italy. However, Christ’s clothing of blue tunic with a slight slit around the neck and reddish robe, and the rhomboid shape of the eye socket of the female protagonist, seem to be a close enough match....
... Carmelites was founded by Teresa of Avila in the 1560s and was approved in a decree issued by Gregory XIII in 1580. Teresa sent Niccolò Doria, a Genovese who spent some time in Spain, to Gregory to obtain his approval and founded the church in 1584.26 Seen in that light, Van Honthorst’s altarpiece had great significance, not only as one of the earliest altarpieces adorning the order’s first foreign foothold, but also as one of the earliest depictions of the founder, Teresa of Avila. Compared to other images of her, such as a painting by Rubens [17], her iconography appears to be well-established.27 She invariably wears the habit of the order, is depicted in advanced age, with an emphasis on her sincerity and austere nature. It can therefore be assumed, at least, that Van Honthorst consulted the clergy of the order regarding her iconography, even though it is not known whether it was the clergy or Maria Pavese Doria who commissioned and paid the painter....
Notes
... ussion on the drawing in relation to the date of his arrival in Italy: Papi 1999, p. 15-16. ...
... isberger/Bok 1993, p. 150-151; Seelig 1997, p. 300. ...
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8.5 Conclusions
... sit to Achilles' tomb by Tassi, Poussin and Lauri, who are presented here as the iconographic sources for this vignette, and on the other, it reinforces the possible connection of the manuscript and the artist with the Mattei family.Although archival research proved difficult in the late years, there are indications of private musical activities within the family in the literature.61 Moreover, recent studies have shown the personal relationships between the Mattei and composers and musicians.62 In addition, the 1652 inventory of the property of Count Girolamo Mattei (1606-1676) and his wife Dorotea mentions a harpsichord and an organ.63 To conclude, I would like to draw the attention to a curious detail in the Berlin drawing that hitherto has escaped notice [36].64 The woman with the violin looks directly at the viewer and points with the tip of her bow to the severed branch of a tree on the right. Here the artist included what appears to be a monogram: 'a / d', although there are other small marks on such a small surface. Is this perhaps a clue to discover his identity?...
Notes
... 74–1755) found in two manuscripts, one in Yale and one in Cambridge, as there is no trace of their commission from the castrato. Strohm 1987; Rostirolla 2001. It is generally assumed, however, that the decorators were employees in the scribes’ workshops, or that they were works of the scribes themselves. Ruffatti 2007; Jea...
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3.4 Public Commissions
... y relevant because it would be the first evidence of a close connection between Miel and the Genoese prelate. This connection is confirmed by the artist’s wills, in which he nominated Agostino Franzone (1614–1705), the brother of Giacomo, as his universal heir.36As argued above, the decorative cycle at San Giovanni in Fonte played a crucial role in the development of Miel’s style. Once again we see the influence of Maratti’s work in the details of Miel’s frescoes in Santa Maria dell’Anima, such as the idea of the figure of a man destroying a Classical sculpture. In comparison to the slightly earlier fresco in San Martino ai Monti, however, here we can see a remarkable use of bright colours and a fluidity of brushwork, the result of Miel’s interest in the work of Nicolas Poussin and Giovanni Benedetto Castiglione.37 The latter may also have been an inspiration for Miel in his genre paintings. Miel’s attempt to elaborate on Castiglione’s style and composition is evident in his Bacchanal with Faun and Nymph from the Corsini collection.38 Once again the colours, the fluency, and even the subject recall the work of Castiglione, which was widely available on the Italian art market. The bacchanal subject was realized by Castiglione on more than one occasion, for example the Bacchanal at the Galleria Sabauda in Turin and the paintings in the State Hermitage Museum in St Petersburg and the Museo de Arte de Ponce in Puerto Rico....
... s we have seen him do in other paintings, enriched the scene with narrative details. For example, in The Miracle of the Mule Miel elaborated on the subject by including the delightful detail of the elderly man who, incredulous at what he is seeing, puts on his glasses....
... Annibale Carracci (1560–1609) in the celebrated Farnese Gallery: in particular, from the central scene of The Triumph of Bacchus and Ariadne Miel took the detail of the maenad carrying a wicker basket on her head, and adapted it for the woman in the background of the Crossing who is rescuing her baby.Two other commissions further attest to Pope Alexander VII’s support of Miel: two engravings for the new edition of the Missale Romanum, published in Rome in 1662 [26–27],41 and the frescoes of biblical scenes in the private chapel of the Apostolic Palace in the Vatican, produced in February 1657. These frescoes were thought by scholars to be lost, but I successfully identified them among the paintings of the piano nobile of the palace, which were given incorrect attributions in the past.42 These were Miel’s final works in Rome before he left at the end of 1658 for Turin, where ...
... ted in strong chiaroscuro, a constant trait of Miel’s pictorial production and an aspect of his work commented on by the sources.48 The altarpiece is clearly influenced by the language of Roman painting, and encouraged the diffusion of its style outside Rome. The composition of the painting, arranged along a diagonal, is influenced by contemporary works by Giacinto Gimignani that Miel had the opportunity to see in San Giovanni in Fonte and in Santa Maria dell’Anima. Miel could have been influenced by Gimignani’s Virgin of the Rosary sent from Rome to Prato Sesia (near Novara) around 1648–1649, and by the engraving of St Felix holding the Christ Child, signed and dated ‘Hycinthus Gimignanus Pistoriensis incidebat A S 1649’ [29].49 Miel and Gimignani were also both employed in the illustration of the second volume of De Bello Belgico by the Jesuit Famiano Strada, printed in Rome in 1647 [30-31]. Miel’s Chieri altarpiece would in turn become a model for other painters working in Piedmont, such as the talented Charles Dauphin (1620?–1677), court painter to the Carignano family, who realized another version of The Virgin presenting the Christ Child to St Anthony of Padua [32] for the church of the same name in Carmagnola, near Turin.50...
... eni’s influence on Miel. This is especially evident in the choice of colours and in the poses of the prophets, such as the prophet on the left in Miel’s painting who is absorbed in reading, or the prophet in the background who has his hands on his head and is carefully reading the Holy Scriptures, both of which are taken directly from Reni. These similarities lead one to suppose that Miel was able to study Reni’s painting in person. Unfortunately we do not know who commissioned Reni’s painting, or what its original location was, although its size alone (273.5 x 184 cm) suggests that it was originally intended for an altar. If Miel did actually see The Fathers of the Church, it must have been in Rome from at least the 1650s, if not before – a helpful step in establishing the provenance of Reni’s painting.55...
Notes
... is 1964, p. 115–120. ...
... tine in fresco, and Sacchi painted eight canvases depicting the Life of St John the Baptist: Sutherland Harris 1977, p. 19–22, 84–89; Tempesta 1999, p. 45–52. ...
... 26–227. The question is considered in Gaja (fortcoming). ...
... –688. Baldinucci also says that Miel was ‘forte obbligato coll’Eminentissimo Franzona, e col Cavaliere suo fratello, per mille ricevuti bene...
... neapolis Institute of Art: Gabrielli 1955, p. 261–262. Miel might have met Castiglione when they worked for the aforementioned Marquis Tommaso Raggi. From Raggi Castiglione received the large sum of 380 scudi between February 1647 and January 1650. Miel was paid b...
... ismano: Gandolfi 2019, vol. 1, p. 104 cat. 30. I thank Benappi Fine Art for bringing to my attention this painting and the unpublished note written by Vittorio Natale in 2011. ...
... 31, notes 43–45; Falcidia 1984, vol. 2, p. 641–644; Malgouyres 2007, p. 238–239. If the frescoes were definitely by Mellin that would be interesting, given that Baldinucci noticed Miel’s affinity with the Lorraine artist. In fact, describing the fresco in San Martino ai Monti he reported that Miel ‘s’ingegnò di seguitar lo stile di Carlo Lorense’: Baldinucci 1767–1774, vol. 17, p. 34. On Miel’s paintings in San Lorenzo in Lucina: ...
... the Virgin. Because of his celebrity as a painter of bambocciate Miel’s activity for the Missale has not drawn the attention of scholars. Most of the painters active in the Gallery...
... at the University of Turin. The rediscovered frescoes are analysed in d...
... isread the date as ‘1654’ instead of ‘1651’: Bosio 1878, p. 85. The correct date emerged during the restoration in 1987: D...
... ilippo Ghirardi, articolo 6, paragrafo 7, numero 74, folios not numbered. The reason for the presence of St Barbara and St Agatha is still unclear. There is no mention of the painting in Baldassarre’s will. ...
... ino, Atti pubblici, 11 novembre 1643, libro 12, registro 1653, f. 165r. ...
... 1982, p. 99–110; Briganti 1989, p. 23–26; Schleier 1989, vol. 1, p. 399–460....
... issioned by a local family, the Furogotti, several members of which emigrated to Rome: Venturoli 1989, p. 233–234 cat. ...
... hern Italy: Bertolotti 1880, p. 140–141. It is fair to think that Agostino may have asked Miel to visit Genoa as well, perhaps to settle some business there. ...
... in 1854 by Pope Pius IX. On this topic: Zuccari 2005, p. 64–7...
... is detail appeared during the restoration: Romano 2001, p. 64–65. ...
... gelis (1611–1695). However, that is not mentioned until 1687: Biffis 2018, p. 65–76. Scholars tend to date the picture around the en...