Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.

The Triton Pool - Now a little bit of Greek mythology: Tritons were the messengers of the sea, born of Poseidon (god of the sea) and Amphitrite. They had the upper body of a human and the tail of a fish. They created winds and waves at Poseidon's bidding by coming to the surface of the sea and blowing through a conch shell. The representations here are probably based upon a painting by Annibale Carracci, an early Baroque artist who resided in Italy. It is believed that they illustrate a story in which Triton was challenged to a contest by Misenus, the Trojan trumpeter for Aeneas. Triton promptly tossed Misenus into the sea for his arrogance. The statues were carved from Carrara marble by an unknown Italian artist and commissioned by Richard Canfield in 1902 and brought by him from Italy in 1905. The local residents affectionately refer to the Tritons as "Spit and Spat" due to their spewing water at each other. Notice the two Corinthian columns in the distance, behind the reflecting pool, they are said to guard the entrance to the inner garden where the Palladian Circle is located. The Triton statues and the reflecting pool are located in the Italian Gardens section of Congress Park with an entrance off Broadway in Saratoga Springs, NY. (SS/228)

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.

La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.

En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.

Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:

1.Dios Padre centraba la bóveda.

2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.

3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.

4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.

Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.

_________________________________

Observamos que, en el centro, sobre un podio con dos escalones, se encuentra el sepulcro vacío, con los apóstoles a su alrededor. Al apóstol joven e imberbe lo podemos identificar como san Juan, (estudio de san Juan). A su izquierda, con el sudario entre las manos y las llaves en primer término.

El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.

La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.

En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.

Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:

1.Dios Padre centraba la bóveda.

2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.

3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.

4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.

Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.

_________________________________

Observamos que, en el centro, sobre un podio con dos escalones, se encuentra el sepulcro vacío, con los apóstoles a su alrededor. Al apóstol joven e imberbe lo podemos identificar como san Juan, (estudio de san Juan). A su izquierda, con el sudario entre las manos y las llaves en primer término.

Related Term: Classicism, Life Drawing, Odoardo Farnese

View over Porchia from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are paint

Exhibition - "Caravaggio's Roman Period -

His friends and enemies"

From 21 September to 28 January 2019

In the autumn of 2018, discover an exhibition devoted to Caravaggio (1571–1610), a leading figure in 17th-century Italian painting. Nine masterpieces by the artist will exceptionally be brought together for this unique event in Paris.

An exhibition event

These extraordinary canvases from major Italian museums—such as the Galleria Nazionale in Palazzo Barberini, the Galleria Borghese and the Musei Capitolini in Rome, the Pinacoteca di Brera in Milan, the Musei di Strada Nuova in Genoa, and the Museo Civico Ala Ponzone in Cremona, not to mention the prestigious loan of the Lute Player (1595-1596) from the Hermitage Museum of St. Petersburg, presented in France or the first time. Nine Caravaggio will retrace Caravaggio’s Roman period from 1592 until he fled into exile in 1606. They will be complemented by the works of leading contemporary painters, such as Cavaliere d’Arpino, Annibale Carracci, Orazio Gentileschi, Giovanni Baglione, and José de Ribera, in order to highlight Caravaggio’s innovative genius and the artistic effervescence that reigned in the Eternal City at the time.

An exceptional artist at the heart of the roman artistic scene

Born in 1571, Michelangelo Merisi, whose byname was Caravaggio, revolutionised Italian painting in the 17th century through the realism of his canvases and his innovative use of chiaroscuro, and became the greatest naturalistic painter of his time.

The exhibition will focus on Caravaggio’s Roman period and the artistic circle in which he moved: as the most recent studies have shown, the painter maintained close relations with the contemporary intellectual circles in Rome. The exhibition will therefore look at Caravaggio’s links with the collectors and artists, and also the poets and scholars of his time—links that have never been highlighted in an exhibition.

The exhibition will initially focus on life in Rome at the beginning of the seventeenth century, by looking at the artistic activity in the major workshops, in which Caravaggio began his career. It was during this period that Caravaggio met various figures who were to play a key role in his career: Marchese Giustiniani (1564–1637) and Cardinal Francesco Maria del Monte (1549–1627). They became Caravaggio’s foremost patrons and he received many prestigious commissions from them. After looking at Caravaggio’s friends and supporters, the exhibition will focus on his enemies and rivals who were also part of the art scene in Rome at the time. Caravaggio—the painter did not want other artists to imitate his style, but this did in fact occur—sometimes clashed with his confrères during discussions, lawsuits, and even brawls.

His career in Rome ended in 1606, when Caravaggio killed Ranuccio Tomassoni during a heated discussion. Condemned to death after this fatal brawl, Caravaggio fled into exile but his most loyal patrons continued to take an interest in his work.

El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.

La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.

En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.

Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:

1.Dios Padre centraba la bóveda.

2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.

3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.

4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.

Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.

_________________________________________

La escena representa un episodio común, muy frecuente en las leyendas de las vidas de los santos. Se refiere a cuando san Diego estaba al cuidado de la portería y "le reparo el guardia un día mas que lo ordinario por el bulto en las mangas, y en el hábito, extrañado porque ya había llevado los panes que se daban para la portería comenzó a reprenderle. Entonces san Diego le respondió al Guardia: regístreme vuestra paternidad las mangas los enfaldos y hallará que solo llevo unas rosas, convirtiéndose en aquel instante en rosas los panecillos que llevaba".

View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.

Full title: Marsyas and Olympus

Artist: Annibale Carracci

Date made: 1597-1600

Source: www.nationalgalleryimages.co.uk/

Contact: picture.library@nationalgallery.co.uk

Copyright © The National Gallery, London

Annibale Carracci (1560-1609)

Two Children Teasing A Cat ( ca. 1590)

New York, Metropolitan Museum of Art

View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.

“THE REALITY OF TODAY IS NOT THE SAME THAN THE ONE FROM YESTERDAY ” tent art work by Thierry Geoffroy / Colonel / temporary dialogue installation at the Neue Sachlichkeit section ( New Objectivity ) at the Kuma Museum / Kunsthalle Mannheim Germany

spray paint on Tent, 205 × 140 × 100 cm . 2018

During the exhibition “Konstruktion der Welt: Kunst und Ökonomie” curated by Sebastian Baden, “I installed several tents around the museum as part of a dialogue with the museum’s collections”.

Sebastian Baden contributed a text to the retrospective book Thierry Geoffroy | Colonel: A PROPULSIVE RETROSPECTIVE

published by Museum Villa Stuck:

www.snoeck.de/book/670/Thierry-Geoffroy--%7C-Colonel%3A-A...

en.wikipedia.org/wiki/Thierry_Geoffroy

www.colonel.dk/

www.emergencyrooms.org/formats.html

—------------------------------

Installation part of Konstruktion der Welt: Kunst und Ökonomie - Teilnehmende Künstler*innen 2008-2018

:Maja Bajevic - BBM (Beobachter der Bediener von Maschinen) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski

—------about The New Objectivity (in German: Neue Sachlichkeit) from wikipedia —-

The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit.[1] As these artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.

Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.[1]

The movement essentially ended in 1933 with the end of the Weimar Republic and the beginning of the Nazi dictatorship.

Meaning

Although "New Objectivity" has been the most common translation of "Neue Sachlichkeit", other translations have included "New Matter-of-factness", "New Resignation", "New Sobriety", and "New Dispassion". The art historian Dennis Crockett says there is no direct English translation, and breaks down the meaning in the original German:

Sachlichkeit should be understood by its root, Sache, meaning "thing", "fact", "subject", or "object." Sachlich could be best understood as "factual", "matter-of-fact", "impartial", "practical", or "precise"; Sachlichkeit is the noun form of the adjective/adverb and usually implies "matter-of-factness".[2]

In particular, Crockett argues against the view implied by the translation of "New Resignation", which he says is a popular misunderstanding of the attitude it describes. The idea that it conveys resignation comes from the notion that the age of great socialist revolutions was over and that the left-leaning intellectuals who were living in Germany at the time wanted to adapt themselves to the social order represented in the Weimar Republic. Crockett says the art of the Neue Sachlichkeit was meant to be more forward in political action than the modes of Expressionism it was turning against: "The Neue Sachlichkeit is Americanism, cult of the objective, the hard fact, the predilection for functional work, professional conscientiousness, and usefulness."[1]

Background

Main article: Post-expressionism

Leading up to World War I, much of the art world was under the influence of Futurism and Expressionism, both of which abandoned any sense of order or commitment to objectivity or tradition. Expressionism was in particular the dominant form of art in Germany, and it was represented in many different facets of public life—in dance, in theater, in painting, in architecture, in poetry, and in literature.

Expressionists abandoned nature and sought to express emotional experience, often centering their art around inner turmoil (angst), whether in reaction to the modern world, to alienation from society, or in the creation of personal identity. In concert with this evocation of angst and unease with bourgeois life, expressionists also echoed some of the same feelings of revolution as did Futurists. This is evidenced by a 1919 anthology of expressionist poetry titled Menschheitsdämmerung, which translates to “Twilight of Humanity”—meant to suggest that humanity was in a twilight; that there was an imminent demise of some old way of being and beneath it the urgings of a new dawning.[3]

Critics of expressionism came from many circles. From the left, a strong critique began with Dadaism. The early exponents of Dada had been drawn together in Switzerland, a neutral country in the war, and seeing their common cause, wanted to use their art as a form of moral and cultural protest—they saw shaking off the constraints of artistic language in the same way they saw their refusal of national boundaries. They wanted to use their art in order to express political outrage and encourage political action.[3] Expressionism, to Dadaists, expressed all of the angst and anxieties of society, but was helpless to do anything about it.

Bertolt Brecht, a German dramatist, launched another early critique of expressionism, referring to it as constrained and superficial. Just as in politics Germany had a new parliament but lacked parliamentarians, he argued, in literature there was an expression of delight in ideas, but no new ideas, and in theater a "will to drama", but no real drama. His early plays, Baal and Trommeln in der Nacht (Drums in the Night) express repudiations of fashionable interest in Expressionism.

After the destruction of the war, more conservative critics gained force particularly in their critique of the style of expressionism. Throughout Europe a return to order in the arts resulted in neoclassical works by modernists such as Picasso and Stravinsky, and a turn away from abstraction by many artists, for example Matisse and Metzinger. The return to order was especially pervasive in Italy.

Because of travel restrictions, German artists in 1919–1922 had little knowledge of contemporary trends in French art; Henri Rousseau, who died in 1910, was the French painter whose influence was most apparent in the works of the New Objectivity.[4] However, some of the Germans found important inspiration in the pages of the Italian magazine Valori plastici, which featured photographs of recent paintings by Italian classical realists.[4]

Painting[edit]

Hartlaub first used the term in 1923 in a letter he sent to colleagues describing an exhibition he was planning.[5] In his subsequent article, "Introduction to 'New Objectivity': German Painting since Expressionism", Hartlaub explained,

what we are displaying here is distinguished by the—in itself purely external—characteristics of the objectivity with which the artists express themselves.[6]

The New Objectivity was composed of two tendencies which Hartlaub characterized in terms of a left and right wing: on the left were the verists, who "tear the objective form of the world of contemporary facts and represent current experience in its tempo and fevered temperature"; and on the right the classicists, who "search more for the object of timeless ability to embody the external laws of existence in the artistic sphere".[6]

The verists' vehement form of realism emphasized the ugly and sordid.[7] Their art was raw, provocative, and harshly satirical. George Grosz and Otto Dix are considered the most important of the verists.[8] The verists developed Dada's abandonment of any pictorial rules or artistic language into a “satirical hyperrealism”, as termed by Raoul Hausmann, and of which the best known examples are the graphical works and photo-montages of John Heartfield. Use of collage in these works became a compositional principle to blend reality and art, as if to suggest that to record the facts of reality was to go beyond the most simple appearances of things.[3] Artists such as Grosz, Dix, Georg Scholz, and Rudolf Schlichter painted satirical scenes that often depicted a madness behind what was happening, depicting the participants as cartoon-like. When painting portraits, they gave emphasis to particular features or objects that were seen as distinctive aspects of the person depicted.

Other verists, like Christian Schad, depicted reality with a clinical precision, which suggested both an empirical detachment and intimate knowledge of the subject. Schad's paintings are characterized by "an artistic perception so sharp that it seems to cut beneath the skin", according to the art critic Wieland Schmied.[9] Often, psychological elements were introduced in his work, which suggested an underlying unconscious reality.

Max Beckmann, who is sometimes called an expressionist although he never considered himself part of any movement,[10] was considered by Hartlaub to be a verist[11] and the most important artist of Neue Sachlichkeit.[12]

Compared to the verists, the classicists more clearly exemplify the "return to order" that arose in the arts throughout Europe. The classicists included Georg Schrimpf, Alexander Kanoldt, Carlo Mense, Heinrich Maria Davringhausen, and Wilhelm Heise.[11] The sources of their inspiration included 19th-century art, the Italian metaphysical painters, the artists of Novecento Italiano, and Henri Rousseau.[13]

The classicists are best understood by Franz Roh's term Magic Realism, though Roh originally intended "magical realism" to be synonymous with the Neue Sachlichkeit as a whole.[14] For Roh, as a reaction to expressionism, the idea was to declare "[that] the autonomy of the objective world around us was once more to be enjoyed; the wonder of matter that could crystallize into objects was to be seen anew."[15] With the term, he was emphasizing the "magic" of the normal world as it presents itself to us—how, when we really look at everyday objects, they can appear strange and fantastic.

Regional groups

Most of the artists of the New Objectivity did not travel widely, and stylistic tendencies were related to geography. While the classicists were based mostly in Munich, the verists worked mainly in Berlin (Grosz, Dix, Schlichter, and Schad); Dresden (Dix, Hans Grundig, Wilhelm Lachnit and others); and Karlsruhe (Karl Hubbuch, Georg Scholz, and Wilhelm Schnarrenberger).[11] The works of the Karlsruhe artists emphasize a hard, precise style of drawing, as in Hubbuch's watercolor The Cologne Swimmer (1923).[16]

In Cologne, a constructivist group led by Franz Wilhelm Seiwert and Heinrich Hoerle also included Gerd Arntz. Also from Cologne was Anton Räderscheidt, who after a brief constructivist phase became influenced by Antonio Donghi and the metaphysical artists.

Artists active in Hanover, such as Grethe Jürgens, Hans Mertens, Ernst Thoms, and Erich Wegner, depicted provincial subject matter with an often lyrical style.[17]

Franz Radziwill, who painted ominous landscapes, lived in relative isolation in Dangast, a small coastal town.[18] Carl Grossberg became a painter after studying architecture in Aachen and Darmstadt and is noted for his clinical rendering of industrial technology.[19]

Photography

Albert Renger-Patzsch and August Sander are leading representatives of the "New Photography" movement, which brought a sharply focused, documentary quality to the photographic art where previously the self-consciously poetic had held sway.[20] Some other related projects as Neues Sehen, coexisted at the same moment. Karl Blossfeldt's botanical photography is also often described as being a variation on New Objectivity.[21]

Architecture

New Objectivity in architecture, as in painting and literature, describes German work of the transitional years of the early 1920s in the Weimar culture, as a direct reaction to the stylistic excesses of Expressionist architecture and the change in the national mood. Architects such as Bruno Taut, Erich Mendelsohn and Hans Poelzig turned to New Objectivity's straightforward, functionally minded, matter-of-fact approach to construction, which became known in Germany as Neues Bauen ("New Building"). The Neues Bauen movement, flourishing in the brief period between the adoption of the Dawes plan and the rise of the Nazis, encompassed public exhibitions like the Weissenhof Estate, the massive urban planning and public housing projects of Taut and Ernst May, and the influential experiments at the Bauhaus.

Film

Main article: New Objectivity (film)

In film, New Objectivity reached its high point around 1929. As a cinematic style, it translated into realistic settings, straightforward camerawork and editing, a tendency to examine inanimate objects as a way to interpret characters and events, a lack of overt emotionalism, and social themes.

The director most associated with the movement is Georg Wilhelm Pabst. Pabst's films of the 1920s concentrate on social issues such as abortion, prostitution, labor disputes, homosexuality, and addiction. His cool and critical 1925 Joyless Street is a landmark of the objective style. Other directors included Ernő Metzner, Berthold Viertel, and Gerhard Lamprecht.

Literature

The primary characteristic of New Objective literature was its political perspective on reality.[22] It renders dystopias, in a non-sentimental, emotionless reporting style, with precision of detail and veneration for "the fact". The works were seen to provide a rejection to humanism, a refusal to play the game of art as utopia, a negation of art as escapism, and a palpable cynicism about humanity.[23] Authors associated with New Objectivity literature included Alfred Döblin, Hans Fallada, Irmgard Keun, Erich Kästner, and, in Afrikaans literature, Abraham Jonker, the father of poet Ingrid Jonker.

Theater

Bertolt Brecht, from his opposition to the focus on the individual in expressionist art, began a collaborative method to play production, starting with his Man Equals Man project.[24] This approach to theater-craft began to be known as "Brechtian" and the collective of writers and actors who he worked with are known as the "Brechtian collective".

Music

New Objectivity in music, as in the visual arts, rejected the sentimentality of late Romanticism and the emotional agitation of expressionism. Composer Paul Hindemith may be considered both a New Objectivist and an expressionist, depending on the composition, throughout the 1920s; for example, his wind quintet Kleine Kammermusik Op. 24 No. 2 (1922) was designed as Gebrauchsmusik; one may compare his operas Sancta Susanna (part of an expressionist trilogy) and Neues vom Tage (a parody of modern life).[25] His music typically harkens back to baroque models and makes use of traditional forms and stable polyphonic structures, together with modern dissonance and jazz-inflected rhythms. Ernst Toch and Kurt Weill also composed New Objectivist music during the 1920s. Though known late in life for his austere interpretations of the classics, in earlier years, conductor Otto Klemperer was the most prominent to ally himself with this movement.

Legacy

The New Objectivity movement is usually considered to have ended with the Weimar Republic when the National Socialists under Adolf Hitler seized power in January 1933.[26] The Nazi authorities condemned much of the work of the New Objectivity as "degenerate art", so that works were seized and destroyed and many artists were forbidden to exhibit. A few, including Karl Hubbuch, Adolf Uzarski, and Otto Nagel, were among the artists entirely forbidden to paint. While some of the major figures of the movement went into exile, they did not carry on painting in the same manner. George Grosz emigrated to America and adopted a romantic style, and Max Beckmann's work by the time he left Germany in 1937 was, by Franz Roh's definitions, expressionism.

The influence of New Objectivity outside of Germany can be seen in the work of artists like Balthus, Salvador Dalí (in such early works as his Portrait of Luis Buñuel of 1924),[27] Auguste Herbin, Maruja Mallo, Cagnaccio di San Pietro, Grant Wood, Adamson-Eric, and Juhan Muks.

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About the Collection of Kunsthalle Mannheim

After its foundation in 1909, Kunsthalle Mannheim took on a pioneering role on the German museum scene with its modern collection concepts. As early as 1910, Fritz Wichert (1909-1923) acquired its most famous painting: Édouard Manet's "The Execution of Emperor Maximilian of Mexico". Gustav Friedrich Hartlaub (1923-1933) coined the term "New Objectivity" in 1925 and brought the realistic painting of the late 1920s to Mannheim. After the Second World War, the Kunsthalle became one of the leading museums with a focus on sculpture. It developed into a key museum of classical modern and contemporary art. The collection currently comprises around 2,300 paintings, 860 sculptures and installations, 34,000 graphic artworks, and 800 objects of applied art. In addition to masterpieces of painting and graphic art from Max Beckmann to Francis Bacon, the collection highlights include a range of sculptures from Auguste Rodin to Thomas Hirschhorn. It also features installations by Alicja Kwade, Rebecca Horn, William Kentridge, Joseph Kosuth and James Turrell.

Abraham Bloemaert, Abraham Hulk, Abraham Storck, Achille Funi, Adolf Abel, Adolf Dietrich, Adolf Erbslöh, Adolf Hildenbrand, Adolf Hölzel, Adolf Jutz, Adolf Luther, Adolph von Menzel, Adriaen Collaert, Adriaen van der Werff, Aegidius Sadeler II, Agostino Carracci, Aimé Barraud, Alan Baxter, Alan Beeton, Albert Aereboe, Albert Birkle, Albert Glockendon, Albert Haueisen, Albert Ihrig, Albert Lang, Alberto Giacometti, Albrecht Dürer, Albrecht Hohlt, Alessandro Casolani, Alexander Archipenko, Alexander Kanoldt, Alexej von Jawlensky, Alf Lechner, Alfonso Parigi, Alfred Hrdlicka, Alfred Kubin, Alfred Sisley, Alfred Ungewiß, Algernon Newton, Alicja Kwade, Alison Britton, Aloisi-Galanini Baldassare, Ambera Wellmann, André Derain, André Gill, André Masson, André Volten, Andrea Zaumseil, Andreas G. Hofer, Andreas Paul Weber, Andreas Werner, Andrew Walford, Ann Reder, Anna Mahler, Annette Kelm, Anselm Feuerbach, Anselm Kiefer, Antje Brüggemann-Breckwoldt, Antoine Pevsner, Anton Eberwein, Anton Henning, Anton Hiller, Antonio Amoroso, Antonio Baratti, Antonio Capellan, Antonio Corpora, Anys Reimann, Aristide Maillol, Arno Henschel, Arnold Böcklin, Arnold Zahner, Arthur Kaufmann, Arturo Bonfanti, August Gaul, August Macke, August Wilhelm Dressler, Auguste Gaspard Louis Desnoyers, Auguste Herbin, Auguste Johanne Papendieck, Auguste Rodin, Barbara Hepworth, Barthel Gilles, Bartholomäus Spranger, Beate Kuhn, Ben Vautier, Ben Willikens, Benjamin Godron, Bernard Buffet, Bernard Meadows, Bernard Schultze, Bernardino Capitelli, Bernhard Bleeker, Bernhard Heiliger, Bernhard Kretzschmar, Bernhard Sandfort, Betty Blandino, Bo Kristiansen, Bogomir Ecker, Bonaventura Genelli, Brigitte Meier-Denninghoff, Brigitte Schuller, Bruno Asshoff, Bruno Diemer, C. David, Cagnaccio di San Pietro, Camille Pissarro, Carel van Falens, Carel Willink, Carl Blechen, Carl Ernst Christoph Hess, Carl Friedrich Lessing, Carl Kuntz, Carl Rottmann, Carl Schuch, Carl Spitzweg, Carlo Mense, Carlos Cruz-Diez, Carry Hauser, Caspar David Friedrich, Charles André van Loo, Charles Crodel, Charles David, Charles Despiau, Charles H. Hodges, Charles Meryon, Charley Toorop, Cherubino Alberti, Christa von Schnitzler, Christian Friedrich Gille, Christian Rohlfs, Christiane Baetcke, Christiane Maether, Christine Atmer de Reig, Claude Mellan, Claude Monet, Clive Barker, Colin Pearson, Constantin Brâncuşi, Constantin Guys, Cornelis Poelenburgh, Curt Stenvert, D. Maiotto, Daher Zidany, Dan Graham, Daniel Spoerri, David Leach, Dawid Dawidowitsch Burljuk, Diamond Stingily, Dick Ket, Dieter Crumbiegel, Diethelm Koch, Domenico Maria Bonavera, Dominique-Vivant Baron Denon, Eberhard Doser, Eberhard Eckerle, Edgar Degas, Edgar Ende, Edgar Gutbub, Edgar John, Edgar Schmandt, Edmund Kanoldt, Edouard Chapallaz, Édouard Manet, Edouard Vuillard, Eduard Bick, Eduard Gubler, Edvard Munch, Edward von Steinle, Edwin Scharff, El (Eliezer) Lissitzky, Elfriede Balzar-Kopp, Elfriede Lohse-Wächtler, Élisabeth Joulia, Elisabeth Schaffer, Elisabeth Tutti Veith, Emil Bizer, Emil Lugo, Emil Nolde, Emil Schumacher, Emile Bernard, Emma Talbot, Enrico Castellani, Enrique Marty, Eric Astoul, Erich Drechsler, Erich Hauser, Erich Heckel, Erich Ockert, Erich Schilling, Erich Wegner, Erika Streit, Erna Dinklage, Ernest Neuschul, Ernesto De Fiori, Ernst August von Mandelsloh, Ernst Barlach, Ernst Czerper, Ernst Fries, Ernst Fritsch, Ernst Haider, Ernst Hermanns, Ernst Ludwig Kirchner, Ernst Pleuger, Ernst Reinold, Ernst Wilhelm Nay, Erwin Bechtold, Erwin Heerich, Erwin Pfefferle, Etienne Jehandier Desrochers, Eugen Bracht, Eugen Knaus, Eugène Delacroix, Ewald Mataré, Fabio Berardi, Felice Casorati, Felix Nussbaum, Félix Vallotton, Ferdinand Bol, Ferdinand Georg Waldmüller, Ferdinand Hodler, Fernand Léger, Florian Slotawa, Fra Bartolommeo, Francesco Messina, Francis Bacon, Francisco José de Goya y Lucientes, François Barraud, François Lafranca, Frans Masereel, Franz Erhard Walther, Franz (Frantisek) Kupka, Franz Gelb, Franz Gutmann, Franz Horny, Franz Lenk, Franz Marc, Franz Nölken, Franz Radziwill, Franz Sedlacek, Franz von Stuck, Fred Goldberg, Fred Stauffer, Fred Thieler, Fridel Dethleffs-Edelmann, Friedensreich Hundertwasser, Friedrich Kallmorgen, Friedrich Klementz, Fritz Burmann, Fritz Cremer, Fritz Gniesmer, Fritz Klemm, Fritz Koenig, Fritz Paravicini, Fritz Schaefler, Fritz Skade, Fritz Tröger, Fritz Vehring, Fritz von Uhde, Fritz Winter, G. Mellan, Gabriele Dahms, Georg Friedrich Kersting, Georg Kolbe, Georg Scholz, Georg Schrimpf, George Grosz, George Minne, George Rickey, George Segal, Georges Kars, Georges Lallemand, Georges Mathieu, Georges Noël, Georges Rouault, Gerald Weigel, Gérard Deschamps, Gerd Knäpper, Gerd Lind, Gerda Bier-Buck, Gerhard Hoehme, Gerhard Marcks, Germaine Richier, Gerolamo Cairati, Gerold Miller, Gert H. Wollheim, Gertrud Beinling, Giacomo Manzù, Gilles Demarteau, Giorgio de Chirico, Giovanni Battista Piranesi, Giovanni Battista Pittoni, Giovanni Domenico Tiepolo, Giovanni Jacopo Caraglio, Gisela Schliessler, Giulio Antonio Bonasone, Giulio Carpioni, Giulio Romano, Giuseppe Canale, Giuseppe Varotti, Gordon Baldwin, Görge Hohlt, Gotlind Weigel, Gottfried Brockmann, Gottfried Honegger, Guido Joseph Kern, Guido Sengle, Günter Ferdinand Ris, Gunter Frentzel, Günter Oehlbach, Günther Förg, Günther Uecker, Gusso Reuss, Gussy Hippold-Ahnert, Gustav Klimt, Gustav Kraitz, Gustav Schönleber, Gustav Seitz, Gustave Courbet, H. David, Hanna Nagel, Hanns Maria Barchfeld, Hans Adolf Bühler, Hans Arp, Hans Baldung Grien, Hans Cassar, Hans Christiansen, Hans Dochow, Hans Gsell, Hans Heckmann, Hans Lifka, Hans Mertens, Hans Meyboden, Hans Nagel, Hans Otto Schönleber, Hans Scheib, Hans Thoma, Hans Uhlmann, Hans von Marées, Hans Wimmer, Hans-Theo Richter, Harmen Jansz. Muller, Harmensz van Rijn Rembrandt, Harry Kramer, Hedwig Bollhagen, Heidi Kippenberg, Heiner Balzar, Heinrich Aldegrever, Heinrich Bürkel, Heinrich Maria Davringhausen, Heinrich Nauen, Heinrich Zernack, Heinz Mack, Heinz R. Fuchs, Heinz Schifferdecker, Heinz Sommer, Helene von der Leyen, Helga Föhl, Hendrick Goltzius, Henri de Toulouse-Lautrec, Henri Laurens, Henri Matisse, Henry Luyten, Henry Moore, Herbert Garbe, Herbert Hamak, Herbert Tannenbaum, Herbert Volwahsen, Hermann Blumenthal, Hermann Geibel, Hermann Kupferschmid, Hermann Scherer, Hermann Sprauer, Hermann Tiebert, Hieronymus Cock, Hildegund Schlichenmaier, Honoré Daumier, Horst Kerstan, Hubert Griemert, Hugo von Habermann, I. L. Deliguon, I. Stella, Ian Tyson, Ilona Singer, Inga Dorner, Ingeborg Asshoff, Isa Genzken, Israhel van Meckenem, Iwan Babij, Jacob Isaackszoon van Ruisdael, Jacob Sarazin, Jacoba van Heemskerck, Jacopo de Barbari, Jacques Callot, Jacques Claude Danzel, Jacques Dassonville, Jacques Lipchitz, Jacques Mahé de La Villeglé, Jakob Philipp Hackert, James Ensor, James Lloyd, James Turrell, Jan Bontjes van Beek, Jan Brueghel d. J., Jan Harmensz. Muller, Jan J. Schoonhoven, Jan Tschichold, Jannis Kounellis, Jean - Baptiste Oudry, Jean Baron, Jean Daullé, Jean Fautrier, Jean Tinguely, Jean-Baptiste Greuze (zugeschrieben), Jean-Baptiste-Camille Corot, Jean-Francoise de Troy, Jean-Michel Moreau le jeune, Jesse Darling, Jesús Rafael Soto, Joachim Bandau, Joachim Kuhlmann, Joachim Lutz, Joachim Schmettau, Joan Miró, Johan Christian Clausen Dahl, Johan Grimonprez, Johann Christian Reinhart, Johann Elias Haid, Johann Georg Dillis, Johann Wilhelm Schirmer, Johanna Jacoba (Johnny) Rolf, Johannes Gebhardt, John Bock, Jon Kessler, Joseph Anton Nikolaus Settegast, Joseph Beuys, Joseph Kosuth, Joseph Parrocel, Joseph von Führich, Josh Kline, Joshua Reynolds, Juan Gris, Julio González, Julius Bissier, Julius Schnorr von Carolsfeld, Jürgen Brodwolf, Jürgen Goertz, Jürgen Riecke, Juscha Schneider-Döring, Kaari Upson, Karl Adlmannseder, Karl Albiker, Karl Bertsch, Karl Bobek, Karl Dillinger, Karl Fred Dahmen, Karl Friedrich Korden, Karl H. Hödicke, Karl Hartung, Karl Heinz Wulf, Karl Hentschel, Karl Hofer, Karl Hubbuch, Karl Ostertag, Karl Otto Götz, Karl Roux, Karl Scheid, Karl Schmidt-Rottluff, Karl Schmoll von Eisenwerth, Karl Stohner, Karl Theodor Boehme, Kate Diehn-Bitt, Käte Hoch, Katharina Hinsberg, Käthe Kollwitz, Kay Heinrich Nebel, Kenneth Armitage, Kiki Smith, Klaus Rinke, Koch Pyke, Krištof Kintera, Kuno Gonschior, Kurt Lehmann, László Moholy-Nagy, Leo Erb, Leo Kahn, Leonore Maria Stenbock-Fermor, Lodovico Ottavio Burnacini, Lore-Lina Schmidt-Roßnagel, Lothar Fischer, Lotte B. Prechner, Lotte Reimers, Louis de Boullogne, Louis de Silvestre, Louis Desplaces, Louis Le Nain, Louise Nevelson, Lourdes Castro, Lovis Corinth, Lucas Cranach d.Ä., Lucas Cranach d.J., Lucas Hugensz van Leyden, Lucio Fontana, Ludwig Deurer, Ludwig Friedrich, Ludwig Kasper, Ludwig Kuntz, Ludwig Meidner, Ludwig Schmid-Reutte, Lynette Yiadom-Boakye, Lynn Chadwick, Lyonel Feininger, Maarten van Heemskerck, Man Ray, Marc Chagall, Marc Sterling, Marcantonio Bellavia, Marcel Wyss, Marcus Behmer, Marcus Sadeler, Margarete Schott, Margret Eicher, Marianna Simnett, Mariano Bovi, Marie-Hélène Vieira da Silva, Marino Marini, Mario Ceroli, Mario Merz, Mario Tozzi, Mario von Bucovich, Markus Walleitner, Marten Jacobs van Hemskerck, Martin Honert, Martin Lauterburg, Martine Andernach, Mary White, Matthäus Merian, der Ältere, Matthias Gerung, Maurice de Vlaminck, Maurice Denis, Max Beckmann, Max Bill, Max Ernst, Max Joseph Wagenbauer, Max Laeuger, Max Liebermann, Max Pechstein, Max Slevogt, Medardo Rosso, Meredith Frampton, Michael Cleff, Michael Croissant, Michael Schoenholtz, Michael Wohlgemut, Michel Majerus, Michel Pastore, Milly Steger, Mimmo Rotella, Mo Jupp, Monika Grzymala, Moritz von Schwind, Mykola Hlushchenko, Nairy Baghramian, Nam June Paik, Naum Gabo, Nicolas Fouché, Nicolas Mathieu Eekman, Nicolas Vanni, Nicolas-Dauphin de Beauvais, Nigel Hall, Niki de Saint Phalle, Niklaus Stoecklin, Niklaus Stoecklin, Norbert Kricke, Odilon Redon, Olaf Gulbransson, Olaf Nicolai, Olafur Eliasson, Orazio Bertelli, Orazio Borgianni, Oskar Just, Oskar Kokoschka, Oskar Schlemmer, Ossip Zadkine, Oswald Achenbach, Oswald Herzog, Otobong Nkanga, Ottilie Roederstein, Ottmar Hörl, Otto Coester, Otto Dill, Otto Dix, Otto Douglas-Hill, Otto Dressler, Otto Freundlich, Otto Gleichmann, Otto Greis, Otto Herbert Hajek, Otto Lange, Otto Lindig, Otto Mindhoff, Rudolf Belling, Rudolf Bergander, Rudolf Großmann, Rudolf Hellwag, Rudolf Lunghard, Rudolf Maeglin, Rudolf Schlichter, Rudolf Wacker, Rudolph Carl von Ripper, Rudolph Kuntz, Rupprecht Geiger, Ruth Duckworth, Ruth Francken, Ruth Koppenhöfer, Rutilio di Lorenzo Manetti, S. Desmaretz, S. Drury, Sabine Rosenbach, Sally Falk, Sergius Pauser, Silvia Ullmann, Silvio Siermann, Simona Andrioletti, Simone Cantarini, Toni Stadler, Trude Petri, Trude Stolp-Seitz, Ubaldo Oppi, Umberto Boccioni, Ursula Scheid, Valentin Ruths, Vera Isler-Leiner, Vera Vehring, Victor Bonato, Vincent van Gogh, Volker Ellwanger, Agnelli, Albreliaca, Arman, Calabrois, César, Dado, Delanau, Delonguelle, Denys, Derinet, Desmoulins, Dodo, Fossier, Manolo, Waldemar Grzimek, Walter Schulz-Matan, Walter Stallwitz, Walter Waentig, Wassily Kandinsky, Wendelin Stahl, Werner Hofmann, Wieland Förster, Wilfried Otto, Wilhelm Gerstel, Wilhelm Gimmi, Wilhelm Heise, Wilhelm Laage, Wilhelm Lehmbruck, Wilhelm Leibl, Wilhelm Loth, Wilhelm Schnarrenberger, Wilhelm Süs, Wilhelm Trübner, Wilhelm von Kobell, Willi Baumeister, Willi Roerts, William Kentridge, William Mehornay, William Turnbull, William Wauer, William Woollett, Willy Jaeckel, Wim Mühlendyck, Winfred Gaul, Wladimir von Zabotin, Wolf Spitzer, Wolf Vostell, Wolfgang Kessler, Xaver Fuhr, Ximena Ferrer Pizarro, Young-Jae Lee, Yves Klein, Zanele Muholi

Related Terms: Classicism, Odoardo Farnese, Cuadro Riportato

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.

View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.

El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.

La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.

En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.

Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:

1.Dios Padre centraba la bóveda.

2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.

3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.

4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.

Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.

________________________________

Observamos que, en el centro, sobre un podio con dos escalones, se encuentra el sepulcro vacío, con los apóstoles a su alrededor. Al apóstol joven e imberbe lo podemos identificar como san Juan, (estudio de san Juan). A su izquierda, con el sudario entre las manos y las llaves en primer término.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Pietro da Cortona fue discípulo del florentino Andrea Commodi hasta 1611, fecha en la que pasó al taller de Baccio Carpi. Se establece en Roma en 1612 y estudia y copia a los grandes maestros (Rafael, Annibale Carracci).

Empieza su carrera al servicio de la familia Sacchetti quien le confía en 1623 las obras de la villa de Pigneto.

En 1624 decora el Palazzo Mattei con El sacrificio de Polissena y El triunfo de Baco (hoy en la Pinacoteca Capitolina de Roma). En el palacio Sacchetti conoce al caballero Marin y al cardenal Barberini, que se convierte en su protector. Gracias a él consiguió su primer gran encargo de pintura, el ciclo de frescos decorativos de Santa Bibiana en Roma (1624-1626), cuya fachada es obra de Bernini. El éxito obtenido le abre una carrera activa: en 1629 pinta El rapto de las sabinas que se convierte en el manifiesto de la pintura barroca romana.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

A print from the Phillip Medhurst Collection published by Revd. Philip De Vere at St. George's Court, Kidderminster.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

"The Holy Family with the Infant Saint John the Baptist" by Annibale Carracci, in the National Gallery in London.

www.nationalgallery.org.uk/paintings/annibale-carracci-th...

"This small devotional work is one of Annibale Carracci's most celebrated and copied easel paintings. It was made for Cardinal Alessandro Pereti Montalto, a major patron of painters and sculptors in Rome.

'The Montalto Madonna' is one of the first paintings to apply an imposing Baroque composition to an intimately-scaled picture of the Madonna. The Baroque style was established by Annibale in his fresco decorations for the Farnese Gallery, Rome and in a few paintings made just before 1600."

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

More Rome Aug 2011

Last day in Rome!

Palazzo Farnese is a High Renaissance palace in Rome, which currently houses the French embassy and the Ecole Française de Rome (the French Historical Roman Institute).

First designed in 1517 for the Farnese family, the palace building expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534, to designs by Antonio da Sangallo the Younger, its building history involved some of the most prominent Italian architects of the 16th century, including Antonio da Sangallo the Younger, Michelangelo, Jacopo Barozzi da Vignola and Giacomo della Porta.

At the end of the 16th century, the important fresco cycle of The Loves of the Gods in the Farnese Gallery was carried out by the Bolognese painter Annibale Carracci, marking the beginning of two divergent trends in painting during the 17th century, the Roman High Baroque and Classicism. The famous Farnese sculpture collection, now in the National Archeological Museum of Naples, as well as other Farnese collections, now mostly in Capodimonte Museum in Naples, were accommodated in the palace.

Full title: The Holy Family with the Infant Saint John the Baptist

Artist: Annibale Carracci

Date made: about 1600

Source: www.nationalgalleryimages.co.uk/

Contact: picture.library@nationalgallery.co.uk

Copyright © The National Gallery, London

El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.

La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.

En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.

Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:

1.Dios Padre centraba la bóveda.

2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.

3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.

4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.

Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.

_____________________________________

Los expertos han detectado la diferencia que se establece entre los cartones y esbozos hechos a pluma y los detalles en yeso realizados por Annibale de la plasmación final al fresco. Se detecta la responsabilidad de Annibale en el proyecto y la interpretación en el fresco por parte de Albani, principalmente.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

iPad

Not sure which app

Freehand from a photo of Carracci's drawing

Title: The Butcher's Shop

Artist: Annibale Carracci

Year: early 1580s

It is an oil on canvas.

The Kimbell Art Museum in Fort Worth, Texas, hosts a small but excellent art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it.

The building was designed by renowned architect Louis I. Kahn and is widely recognized as one of the most significant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings.

Information from: en.wikipedia.org/wiki/Kimbell_Art_Museum

Full title: Christ appearing to Saint Peter on the Appian Way

Artist: Annibale Carracci

Date made: 1601-2

Source: www.nationalgalleryimages.co.uk/

Contact: picture.library@nationalgallery.co.uk

Copyright © The National Gallery, London

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts

Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

This exhibition is organized by the Minneapolis Institute of Arts.

Reggio Emilia - Basilica di San Prospero.

Wiki -"The Basilica of San Prospero is an ancient church in central Reggio Emilia, Italy.

A church at the site, known as San Prospero di Castello, located inside the city walls, is known prior to 997. The church and its adjacent bell tower underwent reconstructions. In 1514, the church which was in ruins, was demolished and a new design by Luca Corti and Matteo Florentino was erected by 1527. Minor chapels were added till 1543, when the basilica was reconsecrated. Major changes to the belltower were designed by Cristoforo Ricci and Giulio Romano in 1536-1570. The facade of the church had been left incomplete till it was completed in 1748-1753 using designs of Giovanni Battista Cattani. While the statues on the facade are contemporary with Cattani's design, on the dais in front of the church are placed six lions (1501), sculpted in rose-colored marble by Gaspare Bigi, and meant to be bases for columns of a portico that had been planned for the church front.

The interior has works of art by Giovanni Giarola, Michelangelo Anselmi, Denis Calvaert, Ludovico Carracci, and Tommaso Laureti. It has altarpieces by Alessandro Tiarini and Francesco Stringa. Sculptors whose work is in the church include Bartolomeo Spani (Tomb of Rufino Gabloneta (1527) over the entrance) and Prospero Spani (il Clemente), who sculpted a Madonna on the right transept. The presbytery has a picture cycle by Camillo Procaccini and Bernardino Campi. The apse is frescoed with a Last Judgment by Procaccini.

The Chapel of the Pratonero family in this church once held the painting by Correggio of the Nativity (La Notte) (1522), which now is found in the Dresden Gallery. In 1640, the painting was absconded from the chapel by the Dukes of Modena for their private collection, a sacrilege which generated a local uproar. A copy made in replacement."

View over Porchia from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are paint

View over Montalto Delle Marche from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.

The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.

The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are painted by Fontana.