Archives par étiquette : Collection

Journée d’étude : « Aménagement intérieur et cohabitation des styles aux époques moderne et contemporaine »

Type : Journée d’étude (entrée libre)
Date et horaire : lundi 19 mars 2018 – 9h30-17h
Lieu : Paris, Institut National d’Histoire de l’Art, salle Vasari (1er étage).

Cette journée d’étude propose d’interroger la manière usuelle et pragmatique d’adapter dans un espace domestique des objets qui n’étaient originellement pas destinés à se rencontrer, en jouant malgré ou avec leur dissemblance.

Si l’histoire de l’art nous met souvent en présence d’intérieurs où l’harmonie décorative est conçue selon l’idéal d’une « œuvre d’art totale », c’est ici un versant opposé qui sera examiné. Il s’agit en effet d’offrir plusieurs réflexions issues de rapprochements inattendus et parfois surprenants que peuvent susciter des assortiments hétérogènes d’objets de natures et d’époques diverses. Ce sujet rejoint l’histoire du goût et des collections : il place au cœur du débat la nécessité pratique pour un collectionneur, marchand ou particulier, de composer un intérieur à partir d’éléments disparates par leur âge, leur forme ou leur usage.

Les cas convoqués montrent l’étendue des possibilités, certains ayant choisi d’associer leur mobilier ancien à des œuvres d’art moderne, d’autres un mobilier moderne à des œuvres anciennes, ou encore de mêler plus largement différentes typologies de collections dans un même espace, tout en laissant présager un souci de l’effet d’ensemble. Foisonnants et éclectiques, ces intérieurs prônent pour ainsi dire le désordre organisé. De même, leurs composantes, œuvres et objets d’art, tantôt perçues comme des sources de délectation, tantôt envisagées avec une finalité plus triviale, se présentent en constante mutation. Ils deviennent dès lors problématiques pour l’historien chargé de les interpréter de façon cohérente, souvent tenté de les catégoriser et d’en fixer un sens unique dans le temps et l’espace. Continuer la lecture

Publication : « The Villa Laurentina of Pliny the Younger in an 18th-Century Vision ».

MIZIOLEK Jerzy, The Villa Laurentina of Pliny the Younger in an 18th-Century Vision, Rome, L’Erma di Bretschneider, 2016, 250 p.

MIZIOLEK Jerzy, The Villa Laurentina of Pliny the Younger in an 18th-Century Vision, Rome, L’Erma di Bretschneider, 2016, 250 p.

Présentation de l’éditeur :

The book deals with a paper reconstruction of Pliny the Younger’s (c. AD 61–112) villa near Ostia, some twenty kilometres from Rome. This unique work was created in Rome in the years 1777–78 by a young Pole, Count Stanisław K. Potocki (1755–1821) in cooperation with Giuseppe Manocchi and other outstanding artists of the time. The work, originally in the Potocki collection in Wilanów, is today housed in the iconographic collection of the National Library, Warsaw. It contains over thirty large-format, color drawings. In the late 18th century, probably during his last sojourn in Italy (1795–97), Count Potocki wrote a 24-page-long commentary to his work, entitled Notes et Idées sur la Villa de Pline. This hitherto unpublished manuscript commentary and reconstruction drawings of the villa are now published together with a virtual visualisation of the villa produced in 3D Studio Max 2014. Continuer la lecture

Publication : « Women Artists in Early Modern Italy : Careers, Fame, and Collectors ».

BARKER Sheila (dir.), Women Artists in Early Modern Italy : Careers, Fame, and Collectors, Turnhout, Brepols, 2016, 176 p.

BARKER Sheila (dir.), Women Artists in Early Modern Italy : Careers, Fame, and Collectors, Turnhout, Brepols, 2016, 176 p.

Présentation de l’éditeur :

Enhancing our understanding of early Italian female painters including Sofonisba Anguissola and introducing new ones such as Costanza Francini and Lucrezia Quistelli, this volume studies women artists, their patrons, and their collectors, in order to trace the rise of the social phenomenon of the woman artist.

In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary information about the diverse strategies that women found for carrying out their artistic careers, from Sofonisba Anguissola’s role as a lady-in-waiting at the court of Felipe II of Spain, to Lucrezia Quistelli’s avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini’s preference for the steady but humble work of candle painting for a Florentine confraternity.

Continuer la lecture

Publication : « 17th-Century Chinese Paintings from the Tsao Family Collection ».

LITTLE Stephen (dirs.) et KONG Wang (dirs.), 17th-Century Chinese Paintings from the Tsao Family Collection, New York et Londres, Prestel, 2016, 668 p.

LITTLE Stephen (dirs.) et KONG Wang (dirs.), 17th-Century Chinese Paintings from the Tsao Family Collection, New York et Londres, Prestel, 2016, 668 p.

Présentation de l’éditeur :

A rare collection of Chinese paintings is magnificently presented in this book, which explores a politically turbulent yet creatively dynamic period in China’s history.

Comprising 130 paintings from the 17th century, the Tsao Family Collection is singularly comprehensive, including works by nearly all of the most important Chinese painters of the period. This book features 16 works by Dong Qichang, the most protean Chinese painter of the last 500 years; paintings by masters such as Gong Xian, Hongren, Zhu Da, Daoji, Wang Hui, and Wang Yuanqi; and extremely rare works by lesser-known artists, scholars, officials, and Buddhist monks. Divided into sections that encompass both the late Ming Dynasty and the early Qing Dynasty, this volume also includes fascinating essays on a number of themes, such as the function of landscape in Chinese culture, the political uses of painting in 17th-century China, the relationship of Chinese painting to poetry, the flourishing of Buddhist and Daoist studies among late Ming and early Qing literati, and orthodoxy and painting of the era. Rounding out the volume are new and authoritative interpretations of the Tsao Collection written by leading scholars and remarkable new translations by Jonathan Chaves, Ronald Egan, and others, of the Chinese poems and prose texts inscribed on the paintings and calligraphic works in the exhibition.

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

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.

Colloque : « The Collecting of Graphic Arts ».

fig. 1. Hubert Robert, Projet pour la Transformation de la Grande Galerie, 1796, huile sur toile, 113 x 143 cm, Paris, musée du Louvre

Hubert Robert, Projet pour la Transformation de la Grande Galerie, 1796, toile, 113 x 143 cm, Paris, musée du Louvre.

Type : colloque.
Date de la manifestation : du 20 au 22 octobre 2016.
Lieu : Herzog August Bibliothek, Wolfenbüttel.

Programme :

20.10.2016

Herzog August Bibliothek Wolfenbüttel, Workshops and Guided Tour
14.00-14.30 Anmeldung / Registration

14.30-16:00
Workshop: Maria Effinger (Universitätsbibliothek Heidelberg): Vom Annotieren, Edieren und Referenzieren – Aktuelle Beiträge zur Entwicklung einer Forschungsinfrastruktur an der Universitätsbibliothek Heidelberg.

14.30-16:00
Workshop: Michael Freiberg, Gudrun Knaus (Bildarchiv Foto Marburg):
Erfassung und Publikation: LIDO für Graphische Sammlungen (Arbeitstitel).

16:00-17:00
Führung / Guided Tour:
Retter der Antike. Marquard Gude und die Suche nach den Klassikern.

19:00
Begrüßung / Welcome
Peter Burschel (Direktor der Herzog August Bibliothek Wolfenbüttel, Leitender Direktor).

19:15
Arwed Arnulf (Berlin): Jenseits der Kennerschaft. Die Graphiksammlung als Instrument historisch-antiquarischer Gelehrsamkeit im 18. Jahrhundert.

20:15
Restaurant Brauhaus am Stadtmarkt (auf eigene Kosten / at your own expense).

Continuer la lecture

Journée d’étude : Catalysts of knowledge. Early modern cultures of collecting.

Cornelis de Baellieur, Intérieur d'une galerie de tableaux et d'objets d'art, 1637, huile sur bois, 93 x 123 cm, Paris, musée du Louvre.

Cornelis de Baellieur, Intérieur d’une galerie de tableaux et d’objets d’art, 1637, huile sur bois, 93 x 123 cm, Paris, musée du Louvre.

Type : journée d’étude.
Date : mardi 15 décembre 2015.
Lieu : université de Gand, Belgique.

This one-day workshop on early modern cultures of collecting aims to bring together approaches from the domains of art history, the history of science, and material culture studies. Of particular interest are the processes through which collected objects became sources of artisanal, artistic, or scientific knowledge and innovation. Users and beholders of collections were invited to observe, investigate, depict, and question individual objects and their interrelationships, and as such, collections could become ‘catalysts of knowledge’.

Workshop is free of charge, but places are limited, so please register online at : http://www.kunstwetenschappen.ugent.be/catalystsofknowledge

Programme :

10.00-12.15
Session 1: Collecting in the Southern Netherlands
Session chair: Koenraad Jonckheere

Marlise Rijks
The epistemology of collecting. Artists’ and artisans’ collections in
seventeenth-century Antwerp.

Nadia Baadj
Early Modern Cabinets as Catalysts of Knowledge.

Jan Muylle
The Furniture of Count Anthony of Arenberg (Brussels, 1617).

12.15-13.45
Lunch

13.45-15.05
Session 2: Noble and bourgeois collectors
Session chair: Christine Göttler

Nuno Senos
Science and Empire in the collection of the Duke of Bragança.

Renata Ago
Bourgeois collectors and their supporters (Rome, XVII century).

15.05-15.45
Coffee / Tea

15.45-17.05
Session 3: The global world
Session chair: Sven Dupré

Claudia Swan
Rariteyten and other specimens: VOC goods, liefhebbers, and Dutch
collections 1600-1650.

Christine Göttler
A Javanese Dagger in a constcamer painting by Frans Francken the
Younger: Collecting Idols and Weapons in the Seventeenth-Century
Netherlands.

17.05-17.45
Concluding remarks.
Wijnand Mijnhardt