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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.
This church is one of the most important building in Reggio Emillia, Emilia-Romagna region in northern Italy.
The church is adorned by noteworthy frescos, painted by artists of the Carracci school.
HDR from a single raw file.
Full title: The Dead Christ Mourned ('The Three Maries')
Artist: Annibale Carracci
Date made: about 1604
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
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 fres
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.
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.
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.
Full title: Silenus gathering Grapes
Artist: Annibale Carracci
Date made: 1597-1600
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.
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.
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.
If there's a thing that I would steal from Philip, that's his attitude.
("Stealing from our favorite thieves", is an album of Van Pelt)
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 famous Cerasi Chapel contains the Italian Baroque master, Annibale Carracci's, 'Assumption of the Virgin'.
Carracci competed with the major artists for this altarpiece, the prize commission for the chapel. The Virgin awkwardly rises through a cramped crowd of apostles, levitated by half-a dozen cherubim.
The Assumption, the Catholic doctorine that the mother of Jesus, Mary was transported into Heaven with her body and soul united -has been a subject of Christian art for centuries.
Although only infallibly defined defined as dogma in 1950 by Pius XII, stories of the assumption of Mary into heaven have circulated since at least the 5th century.
The Assumption is important to many Catholics as the Virgin Mary's heavenly birthday (the day that Mary was received into Heaven). Her acceptance into the glory of Heaven is seen by them as the symbol of the promise made by Jesus to all enduring Christians that they too will be received into paradise
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.
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.
Su primer propietario fue José Díaz Gana, magnate de la minería, quién adquirió en 1872 la quinta. Se comenzó ese mismo año la construcción del palacio y que finalizó en 1875.
Sin embargo no sería por mucho más tiempo dueño de esta fastuosa propiedad, ya que durante la crisis económica de Chile de 1876, José Díaz Gana perdió el palacio y la quinta de la Alameda recién terminado sin alcanzar a hacer uso de éstos.
De manera que luego de perder su patrimonio José Díaz Gana, el nuevo dueño de la quinta y el Palacio Díaz Gana fue Enrique Concha y Toro.
De esta forma el Palacio Díaz Gana pasó a llamarse Palacio Concha-Cazotte, y por más de 40 años, gran parte del acontecer de la vida social de la ciudad de Santiago se desarrolló en su más de 3500 m².
En los años que Enrique Concha y su esposa Teresa Cazotte vivieron en el palacio, adquirieron numerosas obras de arte convirtiendo su casa en una verdadera galería compuesta casi exclusivamente de obras de artistas de los siglos XVI, XVII y XVIII, siendo “muy rica y sería la colección” según el juicio del pintor y crítico francés Richon-Brunet, quién visitó Santiago de Chile en 1902.
De esta colección se pueden mencionar “David con cabeza de Goliath” de Rubens, “Anunciación de Cristo a los Pastores” del holandés Berghen (1624-1689), tres cuadros del francés Le Bourguignon (Jacques Courtois), que fueron sometidos en París a un examen para garantizar su autenticidad, además obras de los italianos Barbieri, del Andrea del Sarto, Carracci y Domenico Zampieri, de los flamencos David Teniers I y A. Dispenbeck, de los españoles Alonso Cano y José Ribera. Un cuadro de Melchor Pérez del siglo XV. Asimismo esculturas en bronce de Aizelin, Dubois y Quintor, otros dos bronces de Pradia con pedestales tallados en ébano y caoba, 2 Venus de mármol de Carrara con pedestal.
Los Concha Cazotte fueron famosos por organizar fiestas y bailes en su propiedad, de estos el más renombrado fue aquel que organizaron en 1912 y que dio de hablar por más de 10 años. De ese baile se imprimió un libro donde salen fotografiados los asistentes vistiendo los disfraces utilizados.
A medida que los Concha Cazotte fueron perdiendo su patrimonio económico, fueron vendiendo sus antiguas posesiones hasta que en 1922, año en que muere Enrique Concha, su viuda, decidió urbanizar la quinta. Para ello encargó su loteo a Arturo Besa Rodríguez, también industrial minero. La idea era reproducir en la antigua quinta un barrio europeo que había visitado doña Teresa en su juventud y del que quedó encantada, de tal modo se construyó un barrio de calles cortas y curvas entre cruzadas entre sí.
Es así como nace el Barrio Concha y Toro, en el lugar donde estaban los antiguos jardines se construyó el Teatro Carrera, hoy monumento nacional, quedando el palacio ubicado atrás del teatro, entre las calles Maturana y Concha y Toro
Tras la muerte de doña Teresa en 1932, sus hijos remataron la galería de cuadros, las esculturas, las lámparas, muebles y chimeneas de la casa el 5 de septiembre de 1932, siendo el martillero Arturo Calvo Mackenna.
Además se vendió el palacio, que fue demolido en 1935 y en su lugar se construyeron nuevas casas, entre las que se contaban las de Teresa Cazotte de Concha y sus descendientes.
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.
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."
Annibale Carracci (attributed to)
Italy 1560-1609
Madonna with Saint Jerome and Saint Mary (Il Giorno)
(after Correggio)
before 1837
oil on canvas
Hamilton Art Gallery
Hamilton, Victoria, Australia
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 fres