Archives par étiquette : painting

Call for Papers: « Belief in Miracles and Iconoclasm. Sacred Spaces in 18th Century France » (deadline: 15 july 2018)

Carle Van Loo, L’Agonie de saint Augustin (esquisse), 1748 ca., huile sur toile, Tours, Musée des beaux-arts

Type : Call for papers.

Deadline : 15 July 2018.

Date de l’événement : 3–5 December 2018.

Place : Paris, Centre allemand d’histoire de l’art, Hôtel Lully.

Following the completion of Carle Vanloo’s cycle on the Life of Saint Augustine for the Paris Church of Notre Dame des Victoires, its prior praised his “temple du Seigneur” as a “salon continuellement ouvert aux étrangers, & aux curieux qui y abondent de toutes parts pour admirer leurs ouvrages,” as he wrote in 1757 in the Mercure de France. The fact that a clergyman understands his church as a museal space is a reflection of the fundamental transformation that the holy and the sacred underwent in the century of the French Enlightenment. Beyond any political, social or transcendental-philosophical re-evaluation, this cultural shift formulated questions of meanings that are visually effectuated in a public place. Continuer la lecture

Conférences de la Société de l’Histoire de l’art français : « Guy-Louis Vernansal (1648-1729) / Jean-Baptiste Boiston (1734-1814) ».

Guy-Louis Vernansal, Allégorie de la Révocation de l’Edit de Nantes, 1687, huile sur toile, 142 x 180 cm, Versailles, musée national des châteaux de Versailles et de Trianon.

Type : conférence.
Date et heure : 13 janvier 2018 à partir de 17h.
Lieu : Paris, INHA, salle Vasari, 1er étage.

Séance du samedi 13 janvier 2018, présentée par Daniel ALCOUFFE :

  • Maxime Georges MÉTRAUX (Sorbonne université) : Guy-Louis Vernansal (1648-1729) : métier et condition sociale d’un peintre cartonnier.
  • Brice LEIBUNDGUT : Jean-Baptiste Boiston (Morteau, 1734 – Paris, 1814), sculpteur ornemaniste de la seconde moitié du XVIIIe siècle.

Exhibition: « Rubens. Royal Portraits », Musée du Luxembourg, from the 4st of October 2017 to the 14st of January 2018

Peter Paul Rubens, Portrait of Anne d’Autriche, Queen of France, about 1622-1625, oil on canvas, 120 x 98.6 cm, Pasadena (California), The Norton Simon Foundation [© Poster of the Réunion des musées nationaux – Grand Palais, 2017]

“Even if, by his birth, he couldn’t claim privileges from among the old and former nobility who made him feel his position, he was regarded with high esteem by sovereigns. Rubens lives and contributes to the enhancement of the art of painting. [1]

Until the 14th of January 2018, the Musée du Luxembourg presents a part of the European works of Peter Paul Rubens (1577-1640). Through about sixty paintings and eighty-nine items in total, the painter’s work is viewed from the perspective of portraits for the monarchs of the great royal courts, made during his journeys or in his workshop, during the first half of the 17th century. From Italy to France, via Brussels or Spain, the artist was commissioned by the greatest Kings represented in this display through the pictorial technique of portraiture, a genre constantly evolving at this period, due in part to Ruben’s influence.

Journeys through an Europe ruled by Princes

Italy: Patronage of Duke of Mantou

Peter Paul Rubens, Portrait of Ferdinand de Gonzague, about 1602-1603, oil on canvas, 81,2 x 56,5 cm, Priv. Coll., courtesy of Nicholas Hall (© courtesy of Christie’s)

Rubens came from a family of Antwerp merchants who fled the town for religious reasons before returning during the late 1580s. He was trained by Otto van Veen, known as Vaenius (1557-1629)[2], a philosopher and mannerist painter marked by Italian influences and who encouraged his pupil to follow his training there. Rubens arrived in Italy in 1600 and stayed there until 1608. Speaking several languages including Latin, and having received a humanist education, the young painter showed a great ease in the learning of his art and was soon hired by Vincent I de Gonzague, Duke of Mantou and Montferrat (1562-1612).

Continuer la lecture

Conférence du GRHAM : « Les Ateliers des Le Nain » par Olivier Bonfait (Paris, 20 mars 2017).

Légende traditionnelle: Antoine Le Nain, Portrait présumé des frères Le Nain, dit L’Atelier, XVIIe siècle, toile, Grande-Bretagne, collection privée.

Type : Conférence (entrée libre).
Date et horaire : lundi 20 mars 2017 à 18h30.
Lieu : Paris, Institut National d’Histoire de l’Art, salle Vasari (premier étage).
Pour tout renseignement : asso.grham@gmail.com

De la date de leur naissance aux circonstances de leurs décès, les frères Le Nain (Antoine, Louis, Matthieu) posent de nombreux problèmes, qui ne concernent pas uniquement la distinction des mains. L’historiographie a toujours souligné la concorde entre les trois frères, mais les témoignages anciens introduisent rapidement des singularités dans le groupe ; ils sont peintres dans le faubourg de Saint-Germain des Prés, mais font tout de suite partie de l’Académie royale.

Les deux représentations d’ateliers laissés par les trois frères (celle actuellement conservé dans la collection Bute, peinte vers 1645 ; celle du Vassar Collège, qui a servi de point de départ pour élaborer le catalogue de Matthieu, datant de 1655 environ) seront présentées à l’exposition Le Nain qui ouvre au Louvre Lens le mardi 21 mars. En les regardant intensément, en les analysant et en les situant dans différentes configurations, il devient possible de proposer à partir de ces deux tableaux des hypothèses tant sur la conception de la peinture des Le Nain que sur la stratégie familiale des trois frères et ses représentations. Continuer la lecture

Conférence du GRHAM : « Peinture et discours à Toulouse au XVIIe siècle » par Stéphanie Trouvé (Paris, 23 février 2017).

Antoine Rivalz, Cassandre traînée hors du temple de Minerve, ca. 1700, toile, 97 × 137 cm, Rouen, musée des Beaux-Arts.

Antoine Rivalz, Cassandre traînée hors du temple de Minerve, ca. 1700, toile, 97 × 137 cm, Rouen, musée des Beaux-Arts.

Type : Conférence (entrée libre).
Date et horaire : jeudi 23 février 2017 à 19h.
Lieu : Paris, Institut National d’Histoire de l’Art, salle Jullian (premier étage).
Pour tout renseignement : asso.grham@gmail.com

Toulouse est présentée depuis le XIXe siècle comme un des foyers artistiques provinciaux des plus féconds, mais sa production a aussi été perçue par l’historiographie comme un art utilisant de vielles formules stylistiques, ou comme une pâle réplique des grands chefs-d’œuvre italiens ou parisiens. A partir d’un corpus d’œuvres et d’écrits sur la peinture sans équivalent pour une ville de province, cette conférence vise à proposer des pistes méthodologiques pour comprendre les enjeux de la peinture toulousaine. Comment situer cette production dans le panorama de l’art français ? Il s’agit de s’interroger sur la construction de la notion d’école, sur le métier de peintre et de confronter peintures et discours afin de porter un nouveau regard sur le développement de l’art en dehors du domaine royal.

Stéphanie Trouvé est docteur en histoire de l’art moderne de l’Université de Paris X – Nanterre. Elle est l’auteur d’un livre intitulé : Peinture et Discours. La construction de l’école de peinture XVIIe-XVIIIe siècles (Presses universitaires de Rennes, 2016) et de plusieurs articles sur des écrits artistiques, sur des grands décors toulousains, et sur les Salons de l’Académie royale de peinture et de sculpture de Toulouse. Elle a enseigné l’histoire de l’art dans les universités de Toulouse et de Bordeaux. Elle travaille dans le projet LexArt – Words for Art : The Rise of a Terminology (1600-1750) sélectionné par le Conseil Européen de la Recherche.

Publication : « The Language of Continent Allegories in Baroque Central Europe ».

SCHMALE Wolfgang, ROMBERG Marion et KOSTLBAUER Josef, The Language of Continent Allegories in Baroque Central Europe, Stuttgart, Franz Steiner Verlag, 2016, 240 p.

SCHMALE Wolfgang, ROMBERG Marion et KOSTLBAUER Josef, The Language of Continent Allegories in Baroque Central Europe, Stuttgart, Franz Steiner Verlag, 2016, 240 p.

Présentation de l’éditeur :

The iconography of the four continents dates back to 16th and early 17th centuries, at a time when Europe’s vision of the world was changed dramatically by discovery and conquest of the New World. Its peak of dissemination was reached in the 18th century. The late Baroque claims a special role for two reasons: The first is the large number of reproductions and applications during this period, the second is the multifaceted significance these allegories enjoyed. They could be inserted into religious and liturgical settings as well as into political language or that of the history of civilization and mankind. « Language » in this sense means that the continent allegories were less the object of an art historical interpretation than being considered a formative part of religious, liturgical, political, historical and other discourses. As pictorial language they were interwoven with text, dogmas, narratives and stereotypes. Thus the authors of this volume inquire what the allegories of the four continents actually meant to people living in the Baroque age. Continuer la lecture

Publication : « The Medici’s Painter Carlo Dolci and Seventeenth-Century Florence ».

STRAUSSMAN-PFLANZER Eve (dir.),The Medici's Painter Carlo Dolci and Seventeenth-Century Florence,New Haven, Yale University Press, 2017, 128 p.

STRAUSSMAN-PFLANZER Eve (dir.),The Medici’s Painter Carlo Dolci and Seventeenth-Century Florence,New Haven, Yale University Press, 2017, 128 p.

Présentation de l’éditeur : 

Carlo Dolci (1616–1687), arguably the greatest painter in 17th-century Florence, was admired and patronized by the city’s leading families. Best known for his half-length and single-figure devotional pictures, Dolci was also a gifted painter of altarpieces and portraits.

Written by a team of distinguished scholars, The Medici’s Painter offers new archival discoveries and insights and features cross-disciplinary approaches to Dolci’s life and art and the cultural and political contexts in which he worked. The volume sheds new light on Dolci’s significant and impressive body of work. The painter understood the power of his paintings to inspire contemporaries, and his works continue to compel individuals to look closely and feel deeply about art.

Eve Straussman-Pflanzer is head of the European Art Department and Elizabeth and Allan Shelden Curator of European Paintings, Detroit Institute of Arts.

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

Publication : « William Hogarth : A Complete Catalogue of the Paintings ».

EINBERG Elizabeth, William Hogarth : A Complete Catalogue of the Paintings, New Haven, Yale university press, 2017, 432 p.

EINBERG Elizabeth, William Hogarth : A Complete Catalogue of the Paintings, New Haven, Yale university press, 2017, 432 p.

Présentation de l’éditeur :

William Hogarth (1697–1764) was among the first British-born artists to rise to international recognition and acclaim and to this day he is considered one of the country’s most celebrated and innovative masters. His output encompassed engravings, paintings, prints, and editorial cartoons that presaged western sequential art. This comprehensive catalogue of his paintings brings together over twenty years of scholarly research and expertise on the artist, and serves to highlight the remarkable diversity of his accomplishments in this medium. Portraits, history paintings, theater pictures, and genre pieces are lavishly reproduced alongside detailed entries on each painting, including much previously unpublished material relating to his oeuvre. This deeply informed publication affirms Hogarth’s legacy and testifies to the artist’s enduring reputation.
Elizabeth Einberg is a senior research fellow at the Paul Mellon Centre for Studies in British Art and former curator at Tate Britain.

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

Publication : Luca Carlevarijs.

SUCCI Dario, Luca Carlevarijs, Gorizia, Libreria Editrice Goriziana, 2015, 336 p.

SUCCI Dario, Luca Carlevarijs, Gorizia, Libreria Editrice Goriziana, 2015, 336 p.

Présentation de l’éditeur :

La monografia dedicata a Luca Carlevarijs (Udine 1663–1730 Venezia) offre il panorama completo e scientificamente aggiornato sui dipinti del maestro che inaugurò agli inizi del Settecento la gloriosa stagione del vedutismo veneziano. Compilato da Dario Succi, curatore dell’unica mostra finora dedicata all’artista (Padova, Palazzo della Ragione, 1994), il catalogo contiene nella prima parte la ricostruzione dell’itinerario artistico partendo dai famosi porti di mare e dagli spettacolari ingressi solenni degli ambasciatori esteri nel Palazzo Ducale. Fa seguito la schedatura accurata dei 185 dipinti sicuramente autografi presenti nei musei e nelle collezioni private di tutto il mondo, sottoponendo ad una stringente analisi critica le opere pubblicate in precedenza, separandole da quelle dei seguaci. Splendidamente illustrato con 240 immagini a colori anche a doppia pagina, il volume di 340 pagine intende porsi come riferimento ineludibile per gli amanti dell’arte veneziana, oltre che per studiosi, collezionisti, antiquari.

The monograph devoted to Luca Carlevarijs (Udine Venice 1663–1730) provides a complete overview and scientifically updated on the paintings of the master who ushered in the early eighteenth century the glorious season of Venetian view painting. Compiled by Dario Succi, curator of the only exhibition dedicated to the artist so far (Padua, Palazzo della Ragione, 1994), the catalog contains the first part of the reconstruction of the artistic starting from the famous sea ports and the beautiful solemn entries of the ambassadors Foreign in the Palazzo Ducale. It follows the filing of accurate 185 paintings definitely autographs in museums and private collections around the world, submitting to a stringent critical analysis works published previously, separating them from those of the followers. Beautifully illustrated with 240 color images even double page, the volume of 340 pages intends to become inescapable reference for lovers of Venetian art, not only for scholars, collectors, antique dealers.

Pour en savoir plus, rendez-vous sur le site de l’éditeur.