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77 articles
Book Review
Raphael: Revolution in Tapestry Design
11/2024 | 1460 | 166
Pages: 1166-1169
related names
Reviewer:
Evans, Mark (Evans, Mark)
Subjects
art literature:
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museums and institutions:
Reviewed Items
subjects:
Raphael: Revolution in Tapestry Design By Katja Schmitz-von Ledebur. 228 pp. incl. 145 col. ills. (Hannibal Books, Antwerp, 2024), €55. ISBN 978–94– 64666–59–5. | :
Illustrations
Attributed works:
11. Death of Ananias, from The Lives and the Acts of the Apostles Peter and Paul, designed by Raphael and his workshop, c.1515/16, and woven under the direction of Pieter van Aelst, Brussels, before 1521. Wool, silk and threads wrapped in precious metals, 488 by 631 cm. (Vatican Museums).
Attributed works:
12. St Paul defending himself before Agrippa, from Scenes from the Life of the Apostle Paul, designed by Pieter Coecke van Aelst and woven under the direction of Paulus van Oppenem (?), Brussels, c.1535. Wool, silk and threads wrapped in precious metals, 423 and 453 cm. (Kunsthistorisches Museum, Vienna).
Attributed works:
13. Lust (Luxuria), designed by Pieter Coecke van Aelst, c.1530 and woven by Willem de Pannemaker, c.1548/49. Wool, silk and threads wrapped in precious metals, 456 by 867 cm. (Kunsthistorisches Museum, Vienna).
Book Review
Art and Curiosity Cabinets of the Late Renaissance: A Contribution to the History of Collecting
07/2023 | 1444 | 165
Pages: 803–804
related names
Reviewer:
Koeppe, Wolfram (Koeppe, Wolfram)
Subjects
art literature:
museums and institutions:
Reviewed Items
subjects:
Art and Curiosity Cabinets of the Late Renaissance: A Contribution to the History of Collecting By Julius von Schlosser, edited by Thomas DaCosta Kaufmann, translated by Jonathan Blower. 232 pp. incl. 7 col. + 103 b. & w. ills. (Getty Research Institute, Los Angeles, 2021), £55. ISBN 978–1–60606–665–21. | :
Illustrations
Attributed works:
2. Frontispiece to Ole Worm’s Museum Wormianum (Leiden 1655), by G. Wingendorp. Engraving, 27.8 by 35.8 cm. (Bodleian Library, Oxford).
Exhibition Review
Cranach: The Early Years in Vienna
11/2022 | 1436 | 164
Pages: 1140-1132
related names
Reviewer:
Silver, Larry (Silver, Larry)
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art literature:
dates:
subjects:
Reviewed Items
subjects:
Cranach: The Early Years in Vienna Edited by Guido Messling and Kerstin Richter. 168 pp. incl. 70 col. ills. (Hirmer Verlag, Munich, 2022), £25. ISBN 978–3–7774–3926–6. | :
Illustrations
Attributed works:
1. St Martin and the beggar, by Lucas Cranach the Elder. 1504. Pen, black ink and greyishbrown wash heightened with white on bluish-green prepared paper, 15.5 by 12.5 cm. (Staatliche Graphische Sammlung, Munich).
Attributed works:
2. Marriage diptych of Dr Johannes Cuspinian and Anna Cuspinian- Putsch, by Lucas Cranach the Elder. 1502–03. Oil on pine wood, each 60 by 45 cm. (Oskar Reinhart Collection ‘Am Römerholz’, Winterthur).
Exhibition Review
Titian’s Vision of Women
12/2021 | 1425 | 163
Pages: 1184-1186
related names
Reviewer:
Joannides, Paul (Joannides, Paul; J., P.; Joannides, P. E. A.)
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museums and institutions:
Reviewed Items
subjects:
Titian’s Vision of Women Kunsthistorisches Museum, Vienna 5th October 2021–16th January 2022 | :
Illustrations
Attributed works:
14. Vulcan surprising Venus and Mars, by Jacopo Tintoretto. c.1555. Oil on canvas, 135 by 198 cm. (Alte Pinakothek, Munich; © bpk / Bayerische Staatsgemäldesammlung; exh. Kunsthistorisches Museum, Vienna).
Attributed works:
15. Violante, by Titian. c.1517. Oil on poplar panel, 64.5 by 50.8 cm. (Kunsthistorisches Museum, Vienna; © KHM-Museumsverband; exh. Kunsthistorisches Museum, Vienna).
Attributed works:
16. Lucretia and her husband, by Titian. c.1517. Oil on poplar panel, 82 by 68 cm. (Kunsthistorisches Museum, Vienna; © KHM-Museumsverband; exh. Kunsthistorisches Museum, Vienna).
Exhibition Review
Caravaggio – Bernini: Baroque in Rome
06/2020 | 1407 | 162
Pages: 531-534
related names
Reviewer:
Kämpf, Tobias (Kämpf, Tobias)
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dates:
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places:
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Reviewed Items
styles:
Caravaggio – Bernini: Baroque in Rome Rijksmuseum, Amsterdam 14th February–7th June | :
Illustrations
Attributed works:
14. Boy bitten by a lizard, by Caravaggio. c.1597–98. Oil on canvas, 65.8 by 49.5 cm. (Fondazione di Studi di Storia dell’Arte Roberto Longhi, Florence; exh. Rijksmuseum, Amsterdam).
Attributed works:
15. Judith with the head of Holofernes, by Carlo Saraceni. c.1610. Oil on canvas, 90 by 79 cm. (Kunsthistorisches Museum, Vienna; exh. Rijksmuseum, Amsterdam).
Attributed works:
16. Medusa, attributed to Gian Lorenzo Bernini. 1638–40. Marble, height 46 cm. (Musei Capitolini, Rome; exh. Rijksmuseum, Amsterdam).
Article
The Art of Conservation XVI: Scientific examination of works of art in museums and galleries
12/2019 | 1401 | 161
Pages: 1004-1017
related names
Author:
Kirby, Jo (Kirby, Jo)
Subjects
artists:
dates:
Illustrations
Attributed works:
1. Johannes Wilde holding an X-radiograph plate in front of The Mystic Marriage of St Catherine, by Ciro Ferri, in the Kunsthistorisches Museum, Vienna, in the 1930s. (IPD Photographic Agency, Vienna; Courtauld Institute of Art, London, Wilde Special Collection).
Attributed works:
10. Joyce Plesters working with the Zeiss laser microspectral analyser, in the Scientific Department, National Gallery, London. Photograph, c.1977. (© National Gallery, London).
Attributed works:
11. Microsectioner mounted to a binocular microscope on an adjustable stand in preparation for sampling. Photograph, undated. (Harvard Art Museums Archives, Harvard University, Cambridge MA.).
Attributed works:
12. Cross-section of a sample of orange paint from St Joseph’s robe in Fig.14, taken during conservation treatment in 1953. Black-and-white photograph taken at a magnification of about 35x by balancing a camera on the body tube of an 1895 Leitz microscope in place of the eyepiece, then hand coloured by Joyce Plesters, included in the conservation dossier for the painting. (© The National Gallery, London).
Attributed works:
13. The same cross-section photographed recently using a camera integrated into modern microscope equipment, repolished before photography. The pigments and layer structure – a layer of bright orangeyellow realgar, probably mixed with orpiment, over layers of orange-yellow earth pigment and red and yellow earth pigments mixed with lead white – are revealed in far greater detail. The translucent material at the top of the cross-section is varnish. (© The National Gallery, London).
Attributed works:
14. The Holy Family with a shepherd, by Titian. c.1510. Oil on canvas, 99.1 by 139.1 cm. (National Gallery, London).
Attributed works:
2. Rutherford John Gettens seated at the microscope, photographed by Walter R. Fleischer, Harvard News Office, at an unknown date. (HUP Gettens, Rutherford (1), Harvard University Archives).
Attributed works:
3. Walter Gräff in his examination studio in the Alte Pinakothek, Munich, in 1933. (Doerner Institut, Munich; reproduced by permission of the Doerner Institut).
Attributed works:
4. Narayan Khandekar with the Art-X portable X-ray machine (replacing the Picker) commissioned by Alan Burroughs for the Fogg Museum in 1939 with Philip III of Spain, from the workshop of Pantoja de la Cruz, at the Straus Center for Conservation and Technical Studies, Harvard University. (President and Fellows of Harvard College; photograph © Caitlin Cunningham Photography, 2019).
Attributed works:
5. X-radiograph of the detail in Fig.6. Date unknown. (Harvard Art Museums/Straus Center for Conservation and Technical Studies, Alan Burroughs Collection of X-Radiographs).
Attributed works:
6. Detail of two standing nymphs from Feast of the Gods, by Giovanni Bellini and Titian. 1514/1529. Oil on canvas, 170.2 by 188 cm. (National Gallery of Art, Washington).
Attributed works:
7. Detail of Arnolfini’s hand from Portrait of Giovanni(?) Arnolfini and his wife, by Jan van Eyck. 1434. Oil on panel, 82.2 by 60 cm. (© National Gallery, London).
Attributed works:
8. Infra-red photograph showing change of position of the hand between drawing and painting, the painted hand only partly obscuring the drawing as it is thinly painted. (© National Gallery, London).
Attributed works:
9. Infra-red reflectogram of the hand, recorded using the experimental SIRIS instrument with an InGaAs (indium gallium arsenide) array sensor c.2003. The images obtained with these more recent systems are sharper than those published in 1995 using the Hamamatsu vidicon (see note 39), but all reveal more drawing than in the infra-red photograph, notably in Arnolfini’s arm, the position of which was altered between drawing and painting. (© National Gallery, London).
Exhibition Review
Mark Rothko. Kunsthistorisches Museum, Vienna
06/2019 | 1395 | 161
Pages: 494-496
related names
Reviewer:
Anfam, David (Anfam, David)
Subjects
artists:
dates:
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Illustrations
Attributed works:
1. Installation view of Mark Rothko at the Kunsthistorisches Museum, Vienna, 12th March–30th June 2019.
Attributed works:
2. No.16 (Red, white and brown), by Mark Rothko. 1957. Canvas, 252.2 by 207 cm. (Kunstmuseum Basel; exh. Kunsthistorisches Museum, Vienna).
Attributed works:
3. Portrait of Mary, by Mark Rothko. 1938–39. Canvas, 91.4 by 71.4 cm. (Private collection; exh. Kunsthistorisches Museum, Vienna).
Exhibition Review
Bruegel. Kunsthistorisches Museum, Vienna
12/2018 | 1389 | 160
Pages: 1049-1052
related names
Reviewer:
Honig, Elizabeth Alice (Honig, Elizabeth Alice)
Subjects
collectors and dealers:
dates:
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museums and institutions:
places:
Illustrations
Attributed works:
15. Haymaking, by Pieter Bruegel. 1565. Panel, 114 by 158 cm. (The Lobkowicz Collections, Prague; exh. Kunsthistorisches Museum, Vienna).
Attributed works:
16. Beggars, by Pieter Bruegel. 1568. Panel, 18.5 by 21.5 cm. (Musée du Louvre, Paris; exh. Kunsthistorisches Museum, Vienna).
Attributed works:
17. Detail of The battle between Carnival and Lent, by Pieter Bruegel. 1559. Panel, 118 by 164.2 cm. (Kunsthistorisches Museum, Vienna).
Article
Interpreting Arcimboldo: grotesque parodies or serious jokes?
05/2018 | 1382 | 160
Pages: 368-375
related names
Author:
Kaufmann, Thomas Dacosta (Kaufmann, Thomas Dacosta)
Subjects
art literature:
dates:
media:
Illustrations
Attributed works:
1. Spring, by Giuseppe Arcimboldo. After 1563. Canvas, 66 by 50 cm. (Museo de Real Academia de Bellas Artes de San Fernando, Madrid; exh. Museo de Bellas Artes, Bilbao).
Attributed works:
10. A reindeer, by Giuseppe Arcimboldo. 1562. 25.8 by 22.2 cm. (Staatliche Kunstsammlungen, Dresden; BPK).
Attributed works:
2. Flora, by Giuseppe Arcimboldo. c.1589. Panel, 74.5 by 57.5 cm. (Private collection, Madrid; courtesy Fundación March; exh. Museo de Bellas Artes, Bilbao).
Attributed works:
3. Flora Meretrix, by Giuseppe Arcimboldo. c.1590. Panel, 80.5 by 61 cm. (Private collection, Madrid; courtesy Fundación March; exh. Museo de Bellas Artes, Bilbao).
Attributed works:
4. Winter, by Giuseppe Arcimboldo. 1563. Canvas, 66.6 cm by 50.5 cm. (Kunsthistorisches Museum, Vienna).
Attributed works:
5. Winter, here attributed to an imitator of Arcimboldo. c.1590. Panel, 67.8 by 56.2 cm. (Bavarian State Collections, Munich; exh. Gallerie Nazionale di Arte Antica di Roma, Palazzo Barberini, Rome).
Attributed works:
6. Summer, by Giuseppe Arcimboldo. 1563. Canvas, 67 by 50.8 cm. (Kunsthistorisches Museum, Vienna).
Attributed works:
7. Archduchess Magdalena, here attributed to a contemporary of Arcimboldo. c.1563. Canvas, 43.7 by 32.8 cm. (Kunsthistorisches Museum, Vienna; exh. National Museum of Western Art, Tokyo, and Palazzo Barberini, Rome).
Attributed works:
8. Tree of Jesse, by Giuseppe Meda and Giuseppe Arcimboldo. 1556. Fresco (Monza Cathedral).
Attributed works:
9. Nature studies, by Giuseppe Arcimboldo and others. Inscribed with dates 1553 and 1572. 36.1 by 48.7 cm. (Österreichische Nationalbibliothek, Handschriftensammlung, Vienna).
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