Archives par étiquette : grand Tour

Appel à communication : Archaising/Classicising/Medievalising Self-Historicisation and its Discontents

Johann Tischbein, Goethe dans la campagne romaine, 1787, huile sur toile, 164 x 206 cm, Francfort, Städelsches Kunstinstitut und Städtische Galerie.

Type : appel à communication

Date limite de l’appel : 2 mai 2017

Date de l’événement : 17 juin 2017

Lieu : Oxford, Centre for Classical Studies, Corpus Christi College

Texts, songs, buildings, or objects that consciously refer to themselves using the visual, aural, or architectural vocabulary of a previous era present both interesting historical and critical, as well as historiographic, questions. This one-day symposium intends to ask what self-historicising means in the widest possible variety of contexts and media, and to address some the of theoretical gaps in the study of objects that are aware of their own temporality. Medievalising tendencies in the text style or decoration of Early Modern printed books, for instance, raise questions about what constitutes ‘humanist’ or ‘Renaissance’ content, and the geographic assumptions of Italianate origin often associated with classicising and not medievalising. Other possible topics include seventeenth through nineteenth century classicisms and their implications for the Grand Tour, classicisms and colonialisms, Protestant and Catholic classicisms during the Reformation, the association between materiality and archaising in general, as well as archaising tendencies (Roman to Greek, Imperial Roman to Republican &c) in classical text and art itself. Participants from across the humanities and social sciences are invited to submit an approximately 250 word abstract for a 15-20 minute paper on any related topic, with the goal of mutual discussion across disciplinary and period lines in common. Provisions for slides, audio, or other media display, will be made ahead of time, and lunch is included with the £15 conference fee.  Abstracts should be submitted by 2 May to Alexandra Marraccini at: avmarraccini@uchicago.edu.

Appel à publication :Travelling People, Travelling Objects. The Reception of Swiss Art in the Context of the Eighteenth-Century European Grand Tour

Gaspar Wolf, Unterer Grindelwaldgletscher nach dem Vorstoß von 1770, 1774, huile sur toile, marché de l’art.

Type : appel à publication

Date limite de l’appel à candidature : 1er Mai 2017

Date de rendu des articles : 31 janvier 2017

Summary
In 2018, a special issue of the Zeitschrift für Schweizerische Archäologie und Kunst (ZAK) will be dedicated to Swiss art in the eighteenth century. Focusing on the context of European travel culture, the issue will address the various ways in which Grand Tourists perceived, purchased, and collected Swiss art objects during and after their travels. This perspective will help to gain new insight into the distribution and reception of Swiss art in eighteenth-century Europe. Continuer la lecture

Appel à communication: Travelling Objects. Ambassadors of the cultural transfer between Italy and the Habsburg monarchy

Type : Appel à communication.
Date limite appel à candidature: 15 janvier 2017.
Date de la manifestation : 19-20 mai 2017.
Lieu : Rome, Italie.

The international conference travelling objects will focus on the material aspects of cultural transfers: the exchange of paintings, designs/drawings, sculptures or books. Our specific interest is in the movement of these inherently ambassadorial objects between Italy and the Habsburg Monarchy during the 17th and 18th centuries, and their reception and role in the transmission of information and ideas between the North and the South. Special attention will be given to the agents of the exchange, who promoted, organized or mediated the exchange. Continuer la lecture

Publication : « Richard Rawlinson and His Seal Matrices : Collecting in the Early Eighteenth Century ».

CHERRY John, Richard Rawlinson and His Seal Matrices : Collecting in the Early Eighteenth Century, Oxford, The Ashmolean Museum, 2016, 192 p.

CHERRY John, Richard Rawlinson and His Seal Matrices : Collecting in the Early Eighteenth Century, Oxford, The Ashmolean Museum, 2016, 192 p.

Présentation de l’éditeur :

The Rawlinson collection of seal matrices in the University of Oxford is the most important early collection of European seal matrices to survive. Created by Dr Richard Rawlinson (1690-1755) in the first half of the eighteenth century, it consists of 830 matrices ranging in date from the 13th to the early 18th century. It includes the collection of seal matrices formed by Giovanni Andrea Lorenzani, a Roman bronze caster, which Rawlinson acquired in Rome together with a catalogue written in 1708. This collection is primarily Italian, but the Rawlinson collection also includes examples from many other countries England, Wales, Scotland, Ireland, France, Germany Spain, and Scandinavia as well as Italy. The study of seals was much neglected in the middle of the twentieth century, but the study now attracts greater interest. This is due to their visual appeal, sense of identity and their representation of symbols. This book will appeal to a wide variety of readers from those interested in collecting, Jacobitism, history of the early eighteenth century, the Grand Tour, antiquaries, and seals and seal matrices. This book has four introductory chapters which set the scene for the collecting of seal matrices, tell the life of Richard Rawlinson and Giovanni Andrea Lorenzani, analyze their collections and relate the history of the collection after Rawlinson’s death in 1755. One hundred seals, all illustrated, are described in detail, with much unpublished data, and an indication is given of the contribution they make to the sigillography of the different countries.

Plus d’informations sur le site de l’éditeur.

Le Grand Tour avec Sotheby’s

La vente du 28 janvier (New York, 14h) donne un aperçu des veduta réalisées par les peintres italiens – ou résidant en Italie – pour répondre aux demandes des commanditaires européens souhaitant garder un souvenir de leur Grand Tour. Rappelons que ce dernier venait parfaire, au XVIIIe siècle, l’éducation des jeunes gens de la haute société en leur permettant de découvrir l’Europe et, en tout premier lieu, l’Italie. Nombres d’artistes profitèrent ainsi des mannes financières offertes par ces amateurs novices ou collectionneurs confirmés en réalisant des vues pittoresques ou élégiaques de Venise, Rome, Naples et de leurs environs.

Pietro Fabri, Les Villageois partant pour le festival de la Madone de l’Arc, 1773, huile sur toile, 128 x 182,5 cm.

Pietro Fabri, Les Villageois partant pour le festival de la Madone de l’Arc, 1773, huile sur toile, 128 x 182,5 cm.

Pietro Fabri (actif à Naples entre 1768 et 1778) bénéficie tout au long de a carrière du patronage de Sir William Hamilton, ambassadeur de Grande Bretagne à la cour de Naples de 1764 à 1800, mais aussi archéologue et volcanologue. Le peintre aime à peindre des scènes de la vie courante et réalise ici Les Villageois partant pour le festival de la Madone de l’Arc (lot 309 estimé entre 300 000 et 400 000 $). Ce festival était un des événements les plus importants de la vie religieuse napolitaine et avait lieu tous les ans à Pâques au pied du Vésuve.

Gaspar van Wittel dit Vanvitelli, Rome. Le Château Saint Ange vu de Prati, 1736, huile sur toile, 42,5 x 67 cm.

Gaspar van Wittel dit Vanvitelli, Rome. Le Château Saint-Ange vu de Prati, 1736, huile sur toile, 42,5 x 67 cm.

Le lot 304 (estimé entre 150 000 et 200 000 $) offre une vue du Château Saint-Ange depuis la campagne romaine. Elle est l’œuvre de Gaspar van Wittel (Amersfoort, 1653 – 1736, Rome), peintre néerlandais qui s’installe à Rome en 1675 pour y faire toute sa carrière de védutiste.

Bernardo Bellotto, Capriccio, vers 1765, huile sur toile, 48,4 x 78,2 cm.

Bernardo Bellotto, Capriccio, vers 1765, huile sur toile, 48,4 x 78,2 cm.

Enfin le lot 333 (estimé entre 1 000 000 et 1 500 000 $) permet d’admirer un Capriccio réalisé par Bernardo Bellotto (Venise, 1722 – 1780, Varsovie) montrant sa maîtrise virtuose des détails architecturaux à l’instar de son oncle Canaletto. L’église figurant sur la gauche emprunte son architecture à la Frauenkirche de Dresde, mais aussi à la Karlkirche de Vienne et à la Salute de Venise, tandis qu’à l’arrière-plan, l’église et le château rappellent la Marienkirche et le château de Sonnenstein à Pirna.

Florence Fesneau