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38 articles
Article
Picasso’s ‘Faun musician’: revealing the making, contextualising the meaning
03/2022 | 1428 | 164
Pages: 246-253
related names
Author:
Andral, Jean-Louis (Andral, Jean-Louis)
Author:
Casadio, Francesca (Casadio, Francesca)
Author:
Dahm, Kristi (Dahm, Kristi)
Subjects
artists:
dates:
subjects:
Illustrations
Attributed works:
1. Detail of Fig.3.
Attributed works:
10. Infra-red reflectogram (IRR) composite image of Fig.3 (1.5-1.73 μm).
Attributed works:
11. Fig.10 with the black ink of the faun removed digitally, showing a vase of flowers beneath.
Attributed works:
12. Head, 6 June, 1947, by Pablo Picasso. 1947. Coloured crayon on the page opposite the colophon of the book Cinq sonnets de Pétrarque / avec une eau-forte de / Picasso / et les explications du traducteur, each page 33.4 by 25.7 cm. (Private collection).
Attributed works:
2. Photomicrograph of The faun musician (bottom), showing orange and pink media from an earlier composition visible through losses in the uppermost black ink layer.
Attributed works:
3. The faun musician, by Pablo Picasso. 7th–11th June 1947. Brush and black ink and gouache on cream wove paper, folded, 32.7 by 50.2 cm. (Art Institute of Chicago; © 2020 Estate of Pablo Picasso; DACS, London, 2022).
Attributed works:
4. Head of a woman – Françoise, by Pablo Picasso. 1945. Etching, aquatint and engraving on Arches wove paper, plate 13.9 by 11.9 cm., sheet (irreg.) 32 by 24.8 cm. (From Cinq Sonnets de Pétrarque, plate, fol.6.; Museum of Modern Art, New York; Scala; © 2020 Estate of Pablo Picasso; DACS, London, 2022).
Attributed works:
5. Vase with foliage and three sea urchins, by Pablo Picasso. 21st October 1946. Oleoresinous enamel paint and charcoal on paper mounted on reused canvas, 46 by 38 cm. (Musée Picasso, Antibes; © imageArt; photograph Claude Germain; © Succession Picasso 2022; DACS, London, 2022).
Attributed works:
6. The faun musician, by Pablo Picasso, open folio as it originally appeared as a frontispiece opposite the title page to Cinq Sonnets de Pétrarque. (© 2020 Estate of Pablo Picasso; DACS, London, 2022).
Attributed works:
7. Detail of a photograph by Michel Sima, showing ceramics and drawings by Pablo Picasso at the Atelier Madoura, Vallauris. 1948. (© Michel Sima Héritiers; Bridgeman Images).
Attributed works:
8. MA-XRF composite map of Fig.3, showing Prussian blue crayon (blue), gouache media containing titanium white (red) and cerulean blue gouache (green).
Attributed works:
9. Raking-light image of the verso of Fig.3, flipped horizontally.
Article
The Empress Dowager Cixi’s Japanese screen and late Qing imperial cosmopolitanism
10/2021 | 1423 | 163
Pages: 886-897
related names
Author:
Rado, Mei Mei (Rado, Mei Mei)
Subjects
dates:
Illustrations
Attributed works:
1. Her Imperial Majesty, the Empress Dowager of China, by Yu Xunling. 1903. Photograph, hand-coloured gelatin silver print, 23.1 by 17.2 cm. (Museum of Fine Arts, Boston).
Attributed works:
10. Folding screen depicting peacocks among azalea bushes, by Iida & Co. (Takashimaya). Japan, c.1903. Silk embroidery, 152.4 by 304.8 cm. (From The Principal Exhibits to the Louisiana Purchase Exposition, St Louis, U.S.A., 1904 by S. Iida, “Takashimaya” Kyoto Japan; Takashimaya Historical Museum, Osaka).
Attributed works:
12. Folding screen depicting a white phoenix, pine tree and chrysanthemums. Japan, c.1895–1905. Embroidered silk, 230 by 552 cm., each panel 230 by 69 cm. (Palace Museum, Beijing).
Attributed works:
16. Woman’s coat, made by Iida & Co. (Takashimaya). Japan, c.1900–09. Silk embroidery on silk crêpe (Metropolitan Museum of Art).
Attributed works:
18. The Meiji Empress, Haruko, by Suziki Shin’ichi I and Maruki Riyō. 1889. Photograph, gelatin silver print signed by Empress Haruko, 27.5 by 20.5 cm. (Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Washington)
Attributed works:
2. The Empress Dowager Cixi, by Yu Xunling. c.1903. Photograph, hand-coloured gelatin silver print. (Palace Museum, Beijing).
Attributed works:
3. The Empress Dowager Cixi, by Yu Xunling. c.1903. Photograph from a glass plate negative, 24.1 by 17.8 cm. (Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Washington).
Attributed works:
4. The Kangxi Emperor in informal dress at his writing table. Late seventeenth century. Hanging scroll, ink and colour on silk, image 50.7 by 32 cm. (Palace Museum, Beijing).
Attributed works:
5. The Empress Dowager Tze His [Cixi], of China, by Katharine Carl. 1903. Oil on canvas with original camphor wood frame, canvas 297.2 by 173.4 cm. (Arthur M. Sackler Gallery, Smithsonian National Museum of Asian Art, Washington).
Attributed works:
6. Folding screen depicting peacocks among peonies, made by Iida & Co. (Takashimaya). Japan, c.1903. Silk embroidery and later ink and colour on paper, 268 by 456 cm. (Palace Museum, Beijing).
Attributed works:
7. Detail of Fig.6, showing the padded embroidery of the peonies’ petals. (Photograph the author).
Attributed works:
8. Detail of Fig.6, showing the subtle colour gradations and sheen of the peacock’s feathers. (Photograph the author).
Attributed works:
9. Detail of Fig.6, showing the Japanese inscription on the back of the frame. (Photograph the author).
Non-western art unattributed:
11. Wall hanging depicting a landscape. Japan, c.1895–1905. Yūzen-dyed velvet, image 176 by 116 cm. (Palace Museum, Beijing).
Non-western art unattributed:
13 and 14. Front and back of a woman’s informal court robe (chenyi). China, c.1905. Silk tapestry (kesi) with embroidery highlights. (Metropolitan Museum of Art, New York).
Non-western art unattributed:
15. Back of woman’s informal court robe (chenyi). China, c.1905. Silk tapestry (kesi), lined with squirrel and silver rat fur. (Palace Museum, Beijing).
Non-western art unattributed:
17. Vase (one of a pair). Japan, c.1895–1905. Cloisonné enamel (shippō), height 150 cm. (Palace Museum, Beijing).
Article
Richard II’s broomcod collar in the Wilton Diptych: a new identification of the flowers and their significance
07/2021 | 1420 | 163
Pages: 604-606
related names
Author:
Gordon, Dillian (Gordon, Dillian)
Subjects
dates:
museums and institutions:
Illustrations
Attributed works:
1. Detail of Fig.3, showing Richard II.
Attributed works:
2. Detail of Fig.3, showing the flowers linking the broomcods in Richard II’s collar, here identified as pimpernels.
Attributed works:
3. The Wilton Diptych. Left wing: Richard II with St Edmund, St Edward the Confessor and St John the Baptist. Right wing: the Virgin and Child with angels. French or English, c.1397–99. Tempera on oak panel, each panel 53 by 37 cm. (National Gallery, London).
Attributed works:
4. Exterior of Fig.3. Left: the royal arms of England and France impaled with the arms of Edward the Confessor with a helmet, cap of maintenance and lion passant guardant; right: the white hart lying on branches of rosemary and fern. (National Gallery, London).
Article
A pair of Qianlong imperial enamel painted glass vases in the Corning Museum of Glass
10/2020 | 1411 | 162
Pages: 832-839
related names
Author:
Maxwell, Christopher L. (Maxwell, Christopher L.)
Author:
Xue, Shelly (Xue, Shelly)
Subjects
media:
Illustrations
Attributed works:
5. Details of the left-hand vase in Fig.1, showing the golden pheasants (left) and peonies (right).
Attributed works:
7. A golden pheasant, by Yu Sheng and Zhang Weibang. c.1750−61. Ink on paper, 41.9 by 43.9 cm. (Repr. The Birds of the Qing Court, Beijing 2014).
Non-western art unattributed:
1. Pair of vases decorated with golden pheasants and peonies. China, Qianlong mark and period (1736−96). Enamel-painted glass, height 16.2 cm. (The Corning Museum of Glass, NY).
Non-western art unattributed:
3. Box. China, Kangxi mark and period (1696−1722). Enamel-painted glass, 3.2 by 4.5 cm. (Kunstmuseum Den Haag).
Non-western art unattributed:
4. Detail of a Yu Huchan vase decorated with golden pheasants and peonies, Qianlong period (1736−96). Enamel-painted porcelain, height 16.3 cm. (Tian Jin Museum, Tianjin).
Non-western art unattributed:
6. Details of the right-hand vase in Fig. 1, showing the golden pheasants (left) and peonies (right)
Non-western art unattributed:
8. Detail of the right-hand vase in Fig.1, showing the calligraphy and seals.
Western art unattributed:
2. Bottle. Probably Saxony, c.1710−20. Engraved opaque white glass, height 10.8 cm. (The Corning Museum of Glass, NY).
Book Review
Exhibiting Art in Georgian Ireland: the Society of Artists’ Exhibitions Recreated Edited by David Fleming, Ruth Kenny and William Laffan
12/2018 | 1389 | 160
Pages: 1077-1078
related names
Reviewer:
McEvansoneya, Philip (McEvansoneya, Philip)
Subjects
museums and institutions:
places:
Illustrations
Attributed works:
6. Installation view of Exhibiting Art in Georgian Ireland: the Society of Artists’ Exhibitions Recreated, City Assembly Room, Dublin (16th June–29th July 2018). (Courtesy Irish Georgian Society).
Article
The problematic ‘Baptist’: Benedetto da Maiano’s Sala dei Gigli doorway
08/2018 | 1385 | 160
Pages: 624-629
related names
Author:
Dillon, Sarah M. (Dillon, Sarah M. )
Subjects
dates:
places:
Illustrations
Attributed works:
1. Door of the Sala dei Gigli, Palazzo Vecchio, Florence, by Benedetto da Maiano. c.1475–78. Marble. (Photograph Raffaello Bencini; Alinari Archives, Florence)
Attributed works:
2. Door of the Sala dei Gigli, Palazzo Vecchio, Florence, by Benedetto da Maiano. Photograph by Fratelli Alinari c.1890, 16 by 21 cm. (Alinari Archives, Florence).
Attributed works:
3. Door of the Sala dell’Udienza, Palazzo Vecchio, Florence, by Benedetto da Maiano. c.1475–78. Marble. (Photograph Raffaello Bencini; Alinari Archives, Florence).
Attributed works:
4. Above Detail of the door of the Sala dei Gigli, Palazzo Vecchio, Florence, showing the base of the figure. (Photograph the author).
Attributed works:
5. Opposite St John the Baptist, by Benedetto da Maiano. Marble, height 125 cm. Photograph by Fratelli Alinari c.1900, 15 by 21 cm. (Alinari Archives, Florence).
Article
‘Still life of a bouquet in the making’ by Dirck de Bray: a new acquisition at the Mauritshuis, The Hague
02/2012 | 1307 | 154
Pages: 100-102
related names
Author:
Gordenker, Emilie (Gordenker, Emilie)
Subjects
artists:
dates:
museums and institutions:
subjects:
Illustrations
Attributed works:
15. Still life of a bouquet in the making, by Dirck de Bray. 1674. Panel, 40.5 by 35.7 cm. (Mauritshuis, The Hague).
Attributed works:
16. Detail of Fig.15.
Article
Thomas Woolner’s Wordsworth Memorial, 1851: Pre-Raphaelite sources and slips
06/2009 | 1275 | 151
Pages: 382-387
related names
Author:
Neale, Anne (Neale, Anne)
Subjects
artists:
dates:
places:
Illustrations
Attributed works:
28. Detail of the Wordsworth Memorial, by Thomas Woolner. 1851. Marble 44 by 78 cm. (St Oswald’s Church, Grasmere, Cumbria). The floriated panels depict daffodils and violets on the left, and celandines and snowdrops on the right.
Attributed works:
29. William Wordsworth, by Francis Chantrey. 1820. Marble, 51 cm. high. (Wordsworth Collection, Lilly Library, University of Indiana).
Attributed works:
30. Three borders and a sample page from the Illuminated Calendar and Home Diary for 1845, by Henry Noel Humphreys, after the Hours of Anne of Brittany, late fifteenth century. Chromolithographed by Owen Jones.
Attributed works:
31. Modified detail of the Wordsworth Memorial, by Thomas Woolner, with flo­riated panels from the Illuminated Calendar and Home Diary of 1845 superimposed.
Western art unattributed:
32. Lesser celandine (Ranunculus ficaria). From J.G. Sturm: Deutschlands Flora in Abbildungen, Stuttgart 1796, pl.59.
Western art unattributed:
33. Greater celandine (Chelidonium majus). From O.W. Thomé: Flora von Deutschland, Österreich und der Schweiz, Gera 1885, pl.262.
Article
Ornament as system: Chinese bird-and-flower design
06/2006 | 1239 | 148
Pages: 380-389
related names
Author:
Rawson, Jessica (Rawson, Jessica)
Subjects
dates:
print:
Illustrations
Attributed works:
1. View of Nostell Priory, Yorkshire, designed by James Paine with additions by Robert Adam. 1736–65.
Attributed works:
2. The State Dining Room, Nostell Priory, Yorkshire, designed by James Paine (1740s) and decorated by Robert Adam in 1772.
Attributed works:
3. The State Bedroom, Nostell Priory, Yorkshire. The wallpaper is Chinese, the green lacquered furniture is by Chippendale. The bed hangings are Edwardian.
Attributed works:
4. Pine, plum and cranes, by Shen Quan. 1759. Hanging scroll, ink and colours on silk, 191 by 98.3 cm. (Palace Museum, Beijing).
Non-western art unattributed:
10. Drawing of the incised designs on a lacquer box from tomb M6 at Gaotai in Jingzhou, Hubei province. Second century B.C. 14.6 cm. high, 22.9 cm. diam. (Repr. from Jingzhou bowuguan: Jingzhou Gaotai Qin Han mu, Beijing 2000, figs.145:1, 4).
Non-western art unattributed:
11. Drawing of decoration of an inlaid bronze tubular chariot fitting. Western Han period, second–first century B.C. From tomb M122 at Ding Xian, Hebei province. The undulating scroll representing mountains and clouds is, probably, a Chinese interpretation of a borrowed leaf scroll. (Repr. from Zhonghua Renmin Gongheguo chutu wenwu zhanlan, Beijing 1973, pl.85).
Non-western art unattributed:
12. Niche enclosing a figure of the Bodhisattva Manjusri, surrounded by plants with small white blooms. Cave 275 at Dunhuang in Gansu province. fourth–fifth century A.D. (Repr. from Chugoku sekkutsu. Tonko Makko-kutsu, I, Tokyo 1981, pl.12).
Non-western art unattributed:
13. Drawings of scenes on a house-shaped coffin from Datong in Shanxi province. Fifth century A.D. The scenes show the tomb’s occupants under a canopy near a tree and a group of retainers holding flowers. (Repr. from Wenwu (July 2001), pp.40–51, figs.6 and 7).
Non-western art unattributed:
14. Detail of a panel from the stone screen around the coffin bed from the tomb of Anjia, a Sogdian, buried at Xi’an. Sixth century A.D. (Repr. from Shaanxi sheng kaogu yanjiusuo: Xi’an Bei Zhou Anjia mu, Beijing 2003).
Non-western art unattributed:
15. The eastern side room of tomb 1 at Mi Xian Dahuting in Henan province. Domestic scenes are surrounded by cloud scrolls. Eastern Han period, second century A.D. (Repr. from Henan sheng wenwu yanjiusuo: Mi Xian Dahuting Han mu, Beijing 1993, pl.30).
Non-western art unattributed:
5. Octagonal box decorated with a gourd-shaped vase holding pine, prunus and nandina, fruit (grapes, pomegranate and apples), bowl with narcissus, goldfish and a stone chime. Chinese, eighteenth century, made at Suzhou. Gilded lacquer inlaid with ivory, coral, crystal, turquoise, jade, amber, mother-of-pearl and other semi-precious stones, 12.5 by 39.2 by 39.2 cm. (Palace Museum, Beijing).
Non-western art unattributed:
6. View of a shallow seat, or kang, in the Palace of the Eternal Spring (Changchun gong) in the Forbidden City, Beijing. A screen with auspicious plants forms the back of the seat, the whole framed with carved wood and textiles. Eighteenth or early nineteenth century. (Repr. from The Illustrated Catalogue of the Architecture and Decoration of the Imperial Palace: Interior Design, Beijing 1995, no.233).
Non-western art unattributed:
7. View of the interior of the front chamber of tomb of Wang Chuzhi (d.923 A.D.), showing the epitaph and its cover in front of a representation of a screen painted with a landscape on the north wall. The screens around the other walls depict flowers, as in Figs.8 and 9. (Repr. from Hebei sheng wenwu yanjiusuo, ed.: Wudai Wang Chuzhi mu, Beijing 1998, pl.13:2).
Non-western art unattributed:
8. Drawing of the west wall of the front chamber of the tomb of Wang Chuzhi, showing painted screens depicting flowering shrubs, rocks and birds, with textiles and painted beam above and at the top roofed niches that originally held the zodiac figures (only some remaining) alternating with painted cranes. (Repr. from Hebei sheng wenwu yanjiusuo, ed.: Wudai Wang Chuzhi mu, Beijing 1998, fig.5).
Non-western art unattributed:
9. Detail of a screen painted with a flowering shrub and a bird from the west wall of the front chamber of the tomb of Wang Chuzhi. (Repr. from Hebei sheng wenwu yanjiusuo, ed.: Wudai Wang Chuzhi mu, Beijing 1998, pl.8:1).
Exhibition Review
Flower Myth. Basel
05/2005 | 1226 | 147
Pages: 347-348
related names
Reviewer:
Anfam, David (Anfam, David)
Subjects
places:
places:
print:
Reviewed Items
subjects:
Flower Myth: From Van Gogh to Jeff Koons | institution: Beyeler (gallery)
Illustrations
Attributed works:
49. Flowers in a crystal vase, by Edouard Manet. c.1882. 54.6 by 35.2 cm. (Private collection; exh. Foundation Beyeler, Basel).
Attributed works:
50. Blossoming chestnut branches, by Vincent Van Gogh. 1890. 72.5 by 91 cm. (Stiftung Sammlung E.G. Bürhle, Zürich; exh. Foundation Beyeler, Basel).
Attributed works:
51. Flowers, by Andy Warhol. 1970. Silkscreen on paper series, each 91 by 91 cm. (Louisiana Museum for Modern Art, Humlebaek; exh. Foundation Beyeler, Basel).
Attributed works:
52. Wall relief with bird, by Jeff Koons. 1991. Polychromed wood, 182.9 by 127 by 68.6 cm. (Private collection, CT; exh. Foundation Beyeler, Basel).
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