METROPOLITAN MUSEUM JOURNAL最新文献_第9页

Creation Narratives on Ancient Maya Codex-Style Ceramics in the Metropolitan Museum 大都会博物馆关于古玛雅古抄本风格陶瓷的创作叙述

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691105

J. Doyle

引用次数: 1

Stormy Weather in Revolutionary Paris: A Pair of Dihl et Guérhard Vases 革命巴黎的暴风雨天气:一对Dihl et gusamhard花瓶

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691109

I. Moon

引用次数: 0

Louis Comfort Tiffany’s Designs for American Synagogues (1889–1926) 路易斯·康福特·蒂芙尼为美国犹太教堂设计的作品(1889-1926)

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691112

P. Pongracz

引用次数: 0

Fragments of Time: Ancient Glass in the Department of Greek and Roman Art 时间的碎片:希腊和罗马艺术系的古代玻璃

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691104

C. Lightfoot

引用次数: 1

A Palace for Louis XVI: Jean Augustin Renard at Rambouillet 路易十六的宫殿:让·奥古斯丁·雷纳德在朗布依埃

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691107

B. Baudez

引用次数: 0

Sophilos and Early Greek Narrative 索菲亚与早期希腊叙事

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2016-01-01 DOI: 10.1086/691103

M. B. Moore

引用次数: 0

A Buddhist Source for a Stoneware “Basket” Designed by Georges Hoentschel 由Georges Hoentschel设计的石制“篮子”的佛教来源

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2014-01-01 DOI: 10.1086/680035

Denise Patry Leidy

引用次数: 0

Nature as Ideal: Drawings by Joseph Anton Koch and Johann Christian Reinhart 理想的自然:约瑟夫·安东·科赫和约翰·克里斯蒂安·莱因哈特的画作

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2014-01-01 DOI: 10.1086/680048

Cornelia Reiter

{"title":"Nature as Ideal: Drawings by Joseph Anton Koch and Johann Christian Reinhart","authors":"Cornelia Reiter","doi":"10.1086/680048","DOIUrl":"https://doi.org/10.1086/680048","url":null,"abstract":"Over the last ten years, The Metropolitan Museum of Art has acquired a substantial and representative collection of works by the circle of German and Austrian artists living in Rome about 1800, most notably Joseph Anton Koch (1768 – 1839) and Johann Christian Reinhart (1761 – 1847). Both artists devoted themselves to landscapes in a Neoclassical style that picture an idealized nature as a reflection of a higher spirituality. They held a key position in the revival of landscape painting and drawing about 1800 — not only in the rich painted and graphic oeuvre they left behind but also in their personal influence as critical guides to the events in the art world unfolding around them. They functioned as promoters of the next generation of artists, for whom the ideal classicism of Koch and Reinhart served as a starting point for the development of a genuine Romantic conception of landscape. The graphic work of the Tirol native Joseph Anton Koch from different periods and in various genres is particularly well represented in the Museum’s collection. He was unquestionably one of the most important practitioners of Neoclassical landscape painting and drawing. The son of a landless laborer in the Lechtal in Tirol (Austria), Koch received decisive assistance from the bishop of Augsburg, who, after being apprised of the boy’s early demonstration of a talent for drawing, made it possible for him to receive proper artistic training. During his years at the Hohe Karlsschule in Stuttgart from 1785 to 1791, Koch was stirred by the ideas of the French Revolution. Rejecting the restrictive and outmoded teaching methods, he left the school in 1791 for Strasbourg. There he first moved in Jacobin circles but soon distanced himself from them and set out on travels through Switzerland, where, over several years, he produced a large number of landscape studies from nature that served as a reservoir of motifs for his later works. After going to Italy and briefly staying in Naples, he settled in Rome in 1795, where he received his mail at the Antico Caffè Greco in the Strada Condotti. There he joined the circle around Johann Christian Reinhart, the Danish-German painter Asmus Jakob Carstens (1754 – 1788), and the Danish sculptor Bertel Thorvaldsen (1770 – 1844). He spent the greater part of his life in Rome, where, with his pronounced, outgoing personality, he became the center of the German artists’ colony. Something of that personality is expressed in an outstanding portrait of Koch by the Swiss artist and sometime coworker in Koch’s atelier Hieronymus Hess (1799 – 1850),1 which is now also in the Metropolitan Museum (Figure 1).2 Koch, born in 1768 — as is noted on the drawing — belonged to a generation that chose to ennoble the empirical image of nature with idealized compositions and the incorporation of narratives, generally drawn from classical mythology. The first of his works to be discussed here is a gouache of a southern coastal landscape that is impressive for","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/680048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60342201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Honoré de Balzac and Natoire’s The Expulsion from Paradise 尊敬的德·巴尔扎克和纳托瓦的《被驱逐出天堂》

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2014-01-01 DOI: 10.1086/680033

Carol Santoleri

{"title":"Honoré de Balzac and Natoire’s The Expulsion from Paradise","authors":"Carol Santoleri","doi":"10.1086/680033","DOIUrl":"https://doi.org/10.1086/680033","url":null,"abstract":"The nineteenth-century French novelist Honoré de Balzac (1799 – 1850) has a well-documented reputation for drawing on the conventions of art to add depth and nuance to his literary work. Intrigued by a wide range of biblical, mythological, and genre subjects, he peppered his novels with references to scores of paintings that would have been familiar to his audience.1 He was also a passionate collector, who, like a character in one of his novels, frequented the establishments of art dealers in an effort to fill his home with paintings, drawings, and decorative arts.2 Yet, notwithstanding his evident appreciation of art and his ability to conjure up the rich iconography of well-known painters, he seems not to have been a sophisticated collector. Toward the end of his life, he noted in a letter to art critic Théophile Thoré that, although he enjoyed hunting for additions to his “petit musée,” he was not particularly knowledgeable on the subject of paintings.3 While he professed to own pictures by or attributed to such artists as Holbein, Domenichino, and Rubens,4 no work by or even after these artists has ever been associated with his collection. To date, only two pieces have been identified: Bacchante in a Landscape by Jean-Baptiste Mallet, now in the Louvre, Paris, and The Expulsion from Paradise by Charles Joseph Natoire (1700 – 1777), belonging to the Metropolitan Museum (Figure 1).5 Research indicates that Balzac purchased the Natoire in 1846 with his future wife, Eve Hanska (1804 – 1882), and that it remained in their collection for thirty-six years.6 The history of Balzac’s engagement with the painting can be traced through the letters he wrote over a period of almost seventeen years to Hanska — a noblewoman of Polish descent who had married Wenceslas Hanski (1782 – 1841) in 1819 and lived in western Ukraine at Wierzchownia, then part of the Russian Empire.7 The two began corresponding in February 1832, when Hanska sent Balzac an admiring yet critical fan letter, referring to herself simply as “L’Étrangère” (the foreigner).8 After an epistolary courtship interspersed with extended periods of shared travel and stopovers in Wierzchownia, the two were married on March 14, 1850. Tragically, Balzac died of ill health on August 18, only five months later. Balzac and Hanska first saw the Natoire on a trip across Italy, Switzerland, and Germany in 1846.9 On March 16 of that year, the writer boarded a mail coach in Paris for Rome, where he met up with Hanska. In mid-April, the two set sail for Genoa, continuing by way of Lake Orta and the Simplon Pass to Switzerland. On May 16, a few days before the writer’s forty-seventh birthday, they arrived in Basel, where they stayed at the luxurious Hôtel des Trois Rois to celebrate the feast day of Saint Honoré.10 At Miville-Krug, a local dealer in antiquities, they saw a number of items of interest, including The Expulsion from Paradise, which depicts the liminal moment when Adam and Eve come to terms with the","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/680033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60341649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Redeeming Pieter Coecke van Aelst’s Gluttony Tapestry: Learning from Scientific Analysis 救赎Pieter Coecke van Aelst的饕餮挂毯:从科学分析中学习

IF 0.1 2区艺术学

METROPOLITAN MUSEUM JOURNAL Pub Date : 2014-01-01 DOI: 10.1086/680030

F. Carò, Giulia Chiostrini, Elizabeth Cleland, Nobuko Shibayama

{"title":"Redeeming Pieter Coecke van Aelst’s Gluttony Tapestry: Learning from Scientific Analysis","authors":"F. Carò, Giulia Chiostrini, Elizabeth Cleland, Nobuko Shibayama","doi":"10.1086/680030","DOIUrl":"https://doi.org/10.1086/680030","url":null,"abstract":"Pieter Coecke van Aelst (1502 – 1550) was one of the most celebrated Netherlandish artists of his generation.1 An important panel painter and printer of influential architectural treatises, Coecke was above all a master draftsman-designer, and the primary medium for his artistic expression was tapestry design. Tapestry series based on his cartoons were woven up by the celebrated Brussels-based workshops directed by Willem de Pannemaker and Willem de Kempeneer, as well as lesser-known weavers like Jan van der Vijst and Paulus van Oppenem, and were acquired by the great Renaissance collectors, from Henry VIII to Francis I, Mary of Hungary, Charles V, and Cosimo I de’ Medici. The three securely documented tapestry series that form the core of Pieter Coecke van Aelst’s stylistically attributed body of works are the Life of Saint Paul, the Seven Deadly Sins, and the Story of Joshua.2 These were all phenomenally successful and woven in multiple high-quality editions. The Seven Deadly Sins, in particular, is one of the most appealing and inventive series of Renaissance tapestries known, presenting a subversive triumphal procession of the vices across seven tapestries, each devoted to a different sin. Uniquely for tapestries of this period, a written program survives in a manuscript in Madrid, describing the “significance of the seven tapestries of the seven deadly sins by Willem de Pannemaker of which master Pieter of Aelst, painter of Antwerp, made the designs and compositions.”3 Coecke probably began designing the Sins in late 1532, pausing during 1533, when he traveled to Constantinople (in part on a tapestry-selling expedition to Süleyman the Magnificent), completing the design of the series after his return in early 1534. Of the earliest documented edition, woven before 1536, which belonged to Henry VIII, only Avarice survives; it is now in the Morgan Library and Museum in New York.4 Of the three best-preserved Seven Deadly Sins editions, one (Figure 1) originally belonged to Mary of Hungary (1505 – 1558), governor of the Habsburg Netherlands (1531 – 55). Made before 1544, it is now in the Spanish Patrimonio Nacional. Another (Figure 2), made about 1545, was first acquired by the unfortunate Count Lamoraal van Egmont, prince of Gavere (1522 – 1568). Follow ing Egmont’s execution, it passed to Philip II and is now also in the Patrimonio Nacional. The third, woven about 1548 – 49 and probably originally in the collection of the dukes of Lorraine, is now in the Kunsthistorisches Museum in Vienna.5 Since 1957, The Metropolitan Museum of Art has owned one piece of the Seven Deadly Sins that Coecke designed; it represents Gluttony and is the only known survival from this, the fifth known edition (Figure 3).6 In a breathtakingly colorful sweep of twisting figures, fantastical beasts, and patterned cloth and trappings, the figures unfurl across the tapestry’s surface.7 The textile’s well-preserved, vivid palette enlivens the full subtleties of Coecke’s des","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/680030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60341903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1