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44 articles
Article
The permanence of ephemera: a rediscovered fragment by Frans Floris
03/2024 | 1452 | 166
Pages: 244–251
related names
Author:
Galassi, Maria Clelia (Galassi, Maria Clelia; Galassi, M. C.)
Subjects
art literature:
dates:
places:
Illustrations
Attributed works:
1. Capture of the heretics, here attributed to Frans Floris. 1549. Oil on canvas, 170 by 112 cm. (Private collection).
Attributed works:
10. Victory taming a barbarian, by Lambert Lombard. After 1536–37. Pen, ink and black chalk on white paper, 25.5 by 12.9 cm (Arenberg and Clérembault albums, Cabinet des Estampes et des Dessins, Liège).
Attributed works:
11. Giants attacking Olympus, by Balthasar Bos after Frans Floris. 1558. Engraving, 44.2 by 43.9 cm. (British Museum, London).
Attributed works:
2. Victory surrounded by prisoners and trophies, by Frans Floris. 1552. Etching, 31.4 by 43.8 cm. (Metropolitan Museum of Art, New York).
Attributed works:
3. The triumphal arch of the Genoese nation, after Pieter Coecke van Aelst. 1550. Woodcut, 22.6 by 20.5 cm. (From C. Grapheus: Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e], Antwerp 1550; Metropolitan Museum of Art, New York).
Attributed works:
4. Detail of Fig.1, showing physiognomies characteristic of Frans Floris’s style.
Attributed works:
5. Detail of Fig.1, showing the texture of the palin-weave linen canvas.
Attributed works:
6. Infra-red reflectography of Fig.1. (Photograph Paolo Triolo).
Attributed works:
7. Detail of Fig.3, indicating the space allocated for the scene depicting the Capture of the heretics.
Attributed works:
8. Detail of Mars and Venus surprised by Vulcan, by Frans Floris. 1547. Oil on panel. (Formerly Staatliche Museen, Berlin; destroyed in Second Word War).
Attributed works:
9. Column pedestal base on the north side of the Arch of Constantine, Rome, showing Victory taming a barbarian. (Courtesy Roberto Averardi).
Article
Titian’s ‘Allegory of Prudence’ and Philip II
03/2023 | 1440 | 165
Pages: 258-268
related names
Author:
Markou, Georgios E. (Markou, Georgios E.)
Subjects
artists:
dates:
Illustrations
Attributed works:
1. Allegory of Prudence, by Titian. 1555–60. Oil on canvas, 75.5 by 68.4 cm. (National Gallery, London).
Attributed works:
10. Prudentia, a tapestry from the series Los Honores, by Pieter van Aelst. 1520–25. Gold, silver, silk and wool, 490 by 820 cm. (Royal Palace of La Granja de San Ildefonso; Bridgeman Images).
Attributed works:
11. The death of Actaeon, by Titian. 1559–75. Oil on canvas, 178.4 by 198.1 cm. (National Gallery, London; Bridgeman Images).
Attributed works:
12. Proposed frontispiece for Antonio Herrera y Tordesillas, General history of the world in the age of Philip II, the Prudent. 1599. Engraving. (Archivo Histórico Nacional, Madrid, Consejos 4416/101).
Attributed works:
2. X-radiograph of Fig.1, digitally adjusted to remove the effect of the stretcher.
Attributed works:
3. Impresa of the de’ Farri press. 1544. Woodcut. (From H. Barbarosa: Il comento di Marsilio Ficino sopra il Conuito di Platone, Venice 1544).
Attributed works:
4. Impresa of the de’ Farri press. 1555. Woodcut. (From A. Appiano: Historia Delle Guerre Esterne de’ Romani Di Appiano, Venice 1555).
Attributed works:
5. Sol. 1556. Woodcut. (From G.P. Valeriano: Hieroglyphica, sive de sacris Aegyptiorum aliarumque gentium literis, commentariorum libri LVIII, Basel 1556, Liber XXXII, fol.229r).
Attributed works:
6. Hispania. 1556. Woodcut. (From G.P. Valeriano: Hieroglyphica sive De sacris aegyptiorvm centivm literis, Basel 1556, Liber XXXII, fol.228v).
Attributed works:
7. Impresa of Philip II, by Nicolò Nelli. 1566. Engraving. (From G. Ruscelli: Le imprese illustri, Venice 1566, p.232).
Attributed works:
8. Impresa of Elisabeth of Valois, by Nicolò Nelli. 1566. Engraving. (From G. Ruscelli: Le imprese illustri, Venice 1566, p.312).
Attributed works:
9. Detail of the Nobilitas tapestry from the series Los Honores, showing (left) Apollo (‘Phoebus’), by Pieter van Aelst. 1520–25. Gold, silver, silk and wool, 500 by 860 cm. (Royal Palace of La Granja de San Ildefonso; Bridgeman Images).
Exhibition Review
Titian: Love, Desire, Death
06/2020 | 1407 | 162
Pages: 526-529
related names
Reviewer:
Tagliaferro, Giorgio (Tagliaferro, Giorgio)
Subjects
artists:
dates:
subjects:
Reviewed Items
subjects:
Titian: Love, Desire, Death National Gallery, London 16th March–14th June | :
Illustrations
Attributed works:
10. The rape of Europa, by Titian. 1559–62. Oil on canvas, 178 by 205 cm. (Isabella Stewart Gardner Museum, Boston; exh. National Gallery, London).
Attributed works:
8. Installation view of Titian: Love, Desire and Death at the National Gallery, London, 2020. (Courtesy National Gallery, London).
Attributed works:
9. Danaë, by Titian. c.1551–53. Oil on canvas, 114.6 by 192.5 cm. (Wellington Collection, Apsley House, London; exh. National Gallery, London; photograph Stratfield Saye Preservation Trust).
Book Review
Die Stadt von der Neuzeit bis zum 19. Jahrhundert: Urbane Entwürfe in Europa und Nordamerika. By Vittorio Magnago Lampugnani
01/2019 | 1390 | 161
Pages: 92-93
Article
‘The big Italian’: Giambologna and his model Bartolommeo di Lionardo Ginori
11/2018 | 1388 | 160
Pages: 912-919
related names
Author:
Avery, Charles (Avery, Charles)
Subjects
art literature:
dates:
museums and institutions:
places:
Illustrations
Attributed works:
1. Rape of the Sabines, by Giambologna. 1582. Marble, height (excluding the base) c.410 cm. (Loggia dei Lanzi, Florence; Bridgeman Images).
Attributed works:
10. Prometheus, cast from a model by Giambologna. c.1590. Gilt bronze, height 23 cm. (Private collection; photograph courtesy Tomasso Brothers Fine Art, UK).
Attributed works:
2. Crucified Christ, by Giambologna. 1580s. Bronze, 33.5 by 21.5 cm (Cleveland Museum of Art; Bridgeman Images).
Attributed works:
3. Portrait of Giambologna, with his model for ‘Samson and a Philistine’, by Federigo Zuccaro. 1575. Black and red chalk, 26.1 by 188 cm. (National Galleries of Scotland, Edinburgh).
Attributed works:
4. Rape of the Sabines, by Giambologna. c.1581. Clay with traces of whitewash, height c.410 cm. (Galleria dell’Accademia, Florence).
Attributed works:
5. Mars, by Giambologna. c.1581–87. Gilt bronze, height 39.4 cm. (Staatliche Kunstsammlung, Dresden; photograph Arrigo Coppitz).
Attributed works:
6. Portrait of Bartolommeo di Lionardo Ginori, by Santi di Tito. c.1583. Canvas, height c.250 cm. (Private collection, Florence; photo Galleria dell’Accademia, Florence).
Attributed works:
7. Portrait of Pietro di Cosimo de’ Medici, by Santi di Tito. c.1583. Canvas, 208 by 113 cm. (Galleria degli Uffizi, Florence).
Attributed works:
8. Mars and Prometheus, cast from models by Giambologna. c.1587 and c.1590 respectively. Bronze, heights 39.4 cm. and 23 cm. (Both private collection; photograph courtesy Tomasso Brothers Fine Art, UK).
Attributed works:
9. Man seen from three angles, by Antonio del Pollaiuolo. Fifteenth century. Stylus, pen and ink and wash on paper, 26.5 by 36 cm. (Musée du Louvre, Paris).
Article
The Art of Conservation XV. The conservation history of the Ghent Altarpiece
09/2018 | 1386 | 160
Pages: 754-765
related names
Author:
Dubois, Hélène (Dubois, Hélène)
Subjects
collectors and dealers:
Illustrations
Attributed works:
1. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown open, 375 by 514 cm. Before restora- tion. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
2. Diagram showing the extent of mid-sixteenth century overpaint on the outside wings of the polyptych. (©KIK-IRPA, Brussels).
Attributed works:
3. Detail of Fig.4, showing Joos Vijd’s right eye after varnish removal. The pink scumbles around the eyes, which cover the original eyelashes, are typical of the mid-sixteenth-century overpainting campaign. (©KIKIRPA, Brussels).
Attributed works:
4. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown closed, 375 by 257 cm. Photographed after restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
5. Detail of Fig.4, showing Elisabeth Borluut’s drapery before the removal of varnish and overpaint. (Cathedral of St Bavo, Ghent).
Attributed works:
6. Fig.5 after the removal of overpaint and restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
7. The Virgin Annunciate and Angel musicians (recto and verso of the same panel), by Hubert and Jan van Eyck. Photographs taken in Berlin before the restoration of 1894. Original hinges are present on the left side of the frame of the Virgin’s panel. Metal reinforcements were added to the extremities of the crossbar. Later, wrought metal hinged braces were attached by large screws fitted through the frame and visible on the front of the Angels panel. (Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg).
Attributed works:
8. The prophet Micah, detail of Fig.4, shown in the frame designed by Karl Friedrich Schinkel with a hatch covering the inscription beneath the prophet. Photograph, before 1878. (RKD, Netherlands Institute for Art History, M.J. Friedländer Archive, The Hague).
Attributed works:
9. The Ghent Altarpiece as installed in the Vijd chapel between 1865 and 1920. It comprises Eyckian central panels, Lagye’s fur-clothed Adam and Eve and Coxcie’s copies of the other shutters. Photograph, c.1910–13. (© Stadsarchief, Ghent).
Western art unattributed:
10. Jef Van der Veken in his studio in Brussels. Photograph, before 1929. (RKD, Netherlands Institute for Art History, Jef Van der Veken Archive, The Hague).
Western art unattributed:
11. Albert Philipott applies wax to the surface of Eve in order to consolidate the paint layers. Photograph, 1951. (© KIK-IRPA, Brussels).
Western art unattributed:
12. Albert Philipott removes the overpainted clouds around the dove in The Adoration of the Lamb. Photograph, 1951. (© KIK-IRPA, Brussels).
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).
Article
Titian’s ‘Danaë’: the debate continues
06/2016 | 1359 | 158
Pages: 415-419
related names
Author:
Falomir, Miguel (Falomir, Miguel)
Author:
Joannides, Paul (Joannides, Paul; J., P.; Joannides, P. E. A.)
Subjects
artists:
dates:
Illustrations
Attributed works:
1. Detail of Venus and Adonis, by Titian (Museo del Prado, Madrid)
Attributed works:
2. Detail of Danaë, by Titian (Museo del Prado, Madrid)
Attributed works:
3. Tarquin and Lucretia, by Cornelis Cort after Titian. 1571 (British Museum, London)
Attributed works:
4. X-radiograph of Danaë, by Titian (Wellington Collection, Apsley House, London)
Attributed works:
7. The fable of Cupid and Psyche, plate 21, by the Master of the Die after Michiel Coxie. 1520-35 (British Museum, London)
Attributed works:
8. The fable of Cupid and Psyche, plate 1, by the Master of the Die after Michiel Coxie. c.1535 (British Museum, London)
Attributed works:
9. Venus and Adonis, from the studio of Paolo Veronese. c.1580 (Museo del Prado, Madrid)
Western art unattributed:
5. Danaë, by an unidentified painter, after Titian. 1560-70 (Whereabouts unknown)
Western art unattributed:
6. Danaë, by an unidentified engraver, perhaps after Gilles Coignet. c.1580? (British Museum, London)
Article
A response to Joannides and Falomir
06/2016 | 1359 | 158
Pages: 420-423
related names
Author:
Hope, Charles (Hope, Charles)
Subjects
artists:
dates:
Illustrations
Attributed works:
10. Tityus, by Titian. 1549 (Museo del Prado, Madrid)
Attributed works:
11. Danaë, by Titian (Museo del Prado, Madrid)
Article
Titian’s ‘Danaë’ for Philip II of Spain: a clarification
10/2015 | 1351 | 157
Pages: 672-677
related names
Author:
Hope, Charles (Hope, Charles)
Subjects
artists:
dates:
subjects:
Illustrations
Attributed works:
1. Danaë, by Titian (Museo Nacional del Prado, Madrid)
Attributed works:
2. Danaë, partly after Titian (Wellington Collection, Apsley House, London)
Attributed works:
3. Danaë, attributed to Friedrich Sustris partly after Titian. Possibly 1580s (Private collection)
Attributed works:
5. Danaë, by Melchior Meier after Titian. c.1575 (British Museum, London)
Western art unattributed:
4. Danaë, by an anonymous Flemish(?) printmaker possibly after Gillis Coignet. c.1580 (British Museum, London)
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