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232 articles
Article
Aby Warburg’s Hertziana lecture, 1929
08/2023 | 1445 | 165
Pages: 852–873
related names
Author:
Sears, Elizabeth (Sears, Elizabeth)
Subjects
art literature:
art literature:
art literature:
dates:
museums and institutions:
Illustrations
Attributed works:
1. The lecture hall in the Bibliotheca Hertziana, Palazzo Zuccari, Rome. Photograph, c.1995. (Bibliotheca Hertziana, Rome).
Attributed works:
10 and 11. Panel I of the Hertziana lecture, photographs by Pompeo Sansaini. 1929. Hand-numbered, 1–35. (Warburg Institute Archive, London).
Attributed works:
12. Detail of Fig.7, showing a carved relief of the Justice of Trajan.
Attributed works:
13. Detail of The children of Venus, showing a dancing couple, attributed to Baccio Baldini. c.1464. Engraving, 32 by 21.5 cm. (British Museum, London).
Attributed works:
14. Detail of The children of Venus, showing a dancing couple, attributed to Baccio Baldini. c.1465. Engraving, 25.5 by 18 cm. (British Museum, London).
Attributed works:
15. Panel VIb of the Hertziana lecture, photograph by Pompeo Sansaini. 1929. The panel includes two depictions of the Battle of Constantine, by Piero della Francesca (nos.216–17) and Giulio Romano (no.215). (Warburg Institute Archive, London).
Attributed works:
16. Chart sketched by Aby Warburg, 8th February 1929. Media represented in the twelve Hertziana ‘plates’ following the C-sketches consisting of 287 photographs distributed across nine screens before the discarding of Plate VI. (Warburg Institute Archive, London).
Attributed works:
17. The monument to Giordano Bruno, Campo dei Fiori, Rome, by Ettore Ferrari. 1889. Bronze. The statue is on the site of Bruno’s execution on 17th February 1600. (Photograph the author).
Attributed works:
2. Gertrud Bing, Aby Warburg and Franz Alber in their sitting room at the Palace Hotel, April 1929. In the background is a screen constructed for the Hertziana lecture: to the left, the first eight of the twenty photographs by Pompeo Sansaini documenting the image-series; to the right, a scattering of photographs that had been on display. (Warburg Institute Archive, London).
Attributed works:
3 and 4. The evolution of Hertziana Panel 1 (‘Energetic inversion’) in arrangements of photographs sketched by Gertrud Bing. Demonstration evening (5th December 1928) and A-series (January 1929). See also Figs.5 and 6. (Warburg Institute Archive, London).
Attributed works:
5 and 6. The evolution of Hertziana Panel 1 (‘Energetic inversion’) in arrangements of photographs sketched by Gertrud Bing. The B-series and the (final) C-series (January 1929). (Warburg Institute Archive, London).
Attributed works:
7. The first terrace of Purgatory: the marble reliefs and the repentance of the proud: an illustration for Purgatorio, Canto X of Dante’s Divine Comedy, by Sandro Botticelli. c.1488–92. Metalpoint and brown ink on parchment, 32.2 by 47 cm. (Kupferstichkabinett, Staatliche Museen, Berlin).
Attributed works:
8. Adoration of the shepherds, by Domenico Ghirlandaio. 1485. Oil on panel, 167 by 167 cm. (S. Trinita Florence; photograph © Raffaello Bencini; Bridgeman Images).
Attributed works:
9. Detail of a relief below the tomb of Francesco Sassetti, showing Sassetti being mourned, attributed to Giuliano da Sangallo. 1485–90. Pietra serena. (S. Trinita, Florence).
Editorial
Wren 300
02/2023 | 1439 | 165
Pages: 107
Article
Aby Warburg and the Volksheim exhibitions of 1902 and 1905
04/2022 | 1429 | 164
Pages: 362-373
related names
Author:
Marchand, Eckart (Marchand, Eckart)
Subjects
art literature:
artists:
dates:
Illustrations
Attributed works:
1. Aby Warburg in Florence, c.1902. Unknown photographer. (Photograph The Warburg Institute).
Attributed works:
10. Panel 5 of the Geburtstagsparade, Kulturwissenschaftliche Bibliothek Warburg, Hamburg. Unknown photographer. June 1927. (© The Warburg Institute).
Attributed works:
11. Plate 1 of Der Tod des Orpheus. Bilder zu dem Vortrag über Dürer und die Italienische Antike [. . .], by Aby Warburg. Unknown photographer. October 1905. (Photograph The Warburg Institute)
Attributed works:
2. Sketch of a display panel for an exhibition of portraits at the Volksheim, Hamburg, by Aby Warburg. 1902. Pen and ink on paper, 33.8 by 21.5 cm. (Warburg Institute Archive, London, III.60.4, fol.19; © The Warburg Institute).
Attributed works:
3. Sketch of a display panel and a list of proposed sections for an exhibition of portraits at the Volksheim, Hamburg, by Aby Warburg. 1902. Pen and ink on paper, 32.6 by 21 cm. (Warburg Institute Archive, London, III.60.4, fol.9v; © The Warburg Institute).
Attributed works:
4. Detail of a sheet of preparatory notes for an exhibition of portraits at the Volksheim, Hamburg, by Aby Warburg. 1902. Pen and ink on paper, 33.8 by 21.5 cm. (Warburg Institute Archive, London, III.60.4, fol.2r; © The Warburg Institute).
Attributed works:
5. The Reading Room of the Kulturwissenschaftliche Bibliothek Warburg, Hamburg, with an exhibition on Ovid. Unknown photographer. 1927. (Photograph The Warburg Institute).
Attributed works:
6. An unnumbered panel of the so-called Penultimate Version of the Mnemosyne Picture Atlas, showing the complete panel with stand, by Aby Warburg. September 1929. (Warburg Institute Archive, London, III. 106.4, B; © The Warburg Institute).
Attributed works:
7. Panel 4 of Geburtstagsparade at the Kulturwissenschaftliche Bibliothek Warburg, Hamburg, by Aby Warburg. Unknown photographer. June 1927. (© The Warburg Institute).
Attributed works:
8. Three panels of the Ovid exhibition at the Kulturwissenschaftliche Bibliothek Warburg, Hamburg, by Aby Warburg. Unknown photographer. January–February 1927. (Photograph The Warburg Institute).
Attributed works:
9. The Bibliothekarstag exhibition at the Kulturwissenschaftliche Bibliothek Warburg, Hamburg. Unknown photographer. April 1927. (Photograph The Warburg Institute).
Article
Avatars of Antiquity II: Drapery as metaphor
12/2020 | 1413 | 162
Pages: 1056-1071
related names
Author:
Penny, Nicholas (Penny, Nicholas)
Subjects
places:
styles:
subjects:
subjects:
Illustrations
Attributed works:
1. Drapery study for the high priest in the Trial and martyrdom of St Stephen, by Edward Poynter. 1872. Black chalk on buff paper, 41 by 27.5 cm. (Royal Academy of Arts, London).
Attributed works:
10. Draped female torso, from the Acropolis, Xanthos. 470–460 BC. Marble, height 123.8 cm. (British Museum, London).
Attributed works:
11. Rebecca at the well, by Nicolas Poussin. 1648. Oil on canvas, 118 by 199 cm. (Musée du Louvre, Paris).
Attributed works:
12. Detail from Paul preaching at Athens, by Raphael. c.1516. Body colour on paper mounted on canvas, whole canvas 320 by 390 cm. (Royal Collection, on loan to the Victoria and Albert Museum, London).
Attributed works:
13. Drapery study for the high priest in the Trial and martyrdom of St Stephen, by Edward Poynter. 1872. Black chalk on buff paper, 27.6 by 27.1 cm. (Royal Academy of Arts, London).
Attributed works:
14. Drapery study for the kneeling handmaiden in Semiramis founding Babylon, by Edgar Degas. 1860–62. Graphite with lead-white body colour and blue wash on paper, 24.4 by 31.1 cm. (Musée d’Orsay, Paris).
Attributed works:
15. Cymon and Iphigenia by Frederic Leighton. c.1884. Oil on canvas, 162.6 by 327.7 cm. (Art Gallery of New South Wales, Sydney).
Attributed works:
16. Drapery study by Leonardo. c.1475–82. Brown-grey wash and lead white on linen prepared with a pale grey ground, 220 by 139 cm. (Cabinet des Dessins, Musée du Louvre, Paris).
Attributed works:
17. Detail of Virgin and Child, by Masaccio. 1426. Egg tempera on wood, whole panel 134.8 by 73.5 cm. (National Gallery, London).
Attributed works:
18. The penitence of Mary Magdalene, by Charles Le Brun. 1655. Oil on canvas, 252 by 171 cm. (Musée du Louvre, Paris).
Attributed works:
19. Heliodorus driven from the Temple, by Eugène Delacroix. 1855–61. Mural, 751 by 485 cm. (Chapelle des Anges, Saint-Sulpice, Paris)
Attributed works:
2. Detail of an Antique mural painting of a dancer, by Filippo Morghen after Camillo Paderni. Engraving, 38 by 48 cm. (page). (From Le pitture antiche d’Ercolano e contorni, I, Naples 1757).
Attributed works:
20. Ariadne on Naxos, by G.F. Watts. 1867–75. Oil on canvas, 75 by 94 cm. (Guildhall Museum, London).
Attributed works:
21. Divine figures from the east pediment of the Parthenon, Athens, believed to represent Venus reclining on the lap of her mother, Dione, by Phidias or associate. 438–432 BC. Marble, length 233 cm. (British Museum, London).
Attributed works:
22. Captive Andromache, by Frederic Leighton. c.1888. Oil on canvas, 195.6 by 406.4 cm. (City Art Gallery, Manchester).
Attributed works:
23. Detail of the figure of Amor in the chimneypiece made for the residence of Cornelius Vanderbilt II on Fifth Avenue at 57th Street, Manhattan, by Augustus Saint-Gaudens. c.1881–83. Limestone, height of chimneypiece 468.3 cm. (Metropolitan Museum of Art, New York).
Attributed works:
24. Dido receiving Aeneas and Cupid disguised as Ascanius, by Francesco Solimena. 1710. Oil on canvas, 207.2 by 310.2 cm. (National Gallery, London).
Attributed works:
3. One of the ‘attitudes’ of Lady Hamilton, by Tommaso Piroli after Friedrich Rehberg. Engraving, 26.9 by 20.8 cm. (From F. Rehberg: Drawings Faithfully Copied from Nature at Naples, n.p. 1794, fig.7).
Attributed works:
4. Veiled and masked dancer. Alexandria(?), c.100 BC. Bronze, height 20.5 cm. (Metropolitan Museum of Art, New York).
Attributed works:
5. Detail of Two dancers, after Antonio Canova. 1799. Tempera on paper. (Casa Canova, Possagno).
Attributed works:
6. Hebe, by Antonio Canova. 1816–17. Marble with gilt metal, height 158 cm. (Pinacoteca Civica, Forlì).
Attributed works:
7. Veiled woman (Allegory of Purity), by Antonio Corradini. 1717–25. Carrara marble. (Museo del Settecento Veneziano, Ca Rezzonico, Venice).
Attributed works:
8. Hebe, by Bertel Thorvaldsen. 1819–23. Marble, height 152.2 cm. (Thorvaldsen Museum, Copenhagen).
Western art unattributed:
9. Kore, from the Temple of Hera, Samos. 570–60 BC. Marble, height 192 cm. (Musée du Louvre, Paris).
Book Review
The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto’s Italy (Louise Smith Bross Lecture Series)
09/2020 | 1410 | 162
Pages: 817-818
related names
Reviewer:
De Klerck, Bram (De Klerck, Bram)
Subjects
art literature:
Reviewed Items
subjects:
The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto’s Italy (Louise Smith Bross Lecture Series) By Stephen J. Campbell. 352 pp. incl. 172 col. ills. (University of Chicago Press, Chicago, 2019), £49. ISBN 978–0–226–48145–6. | :
Obituary
Iain Buchanan (1948–2018)
04/2019 | 1393 | 161
Pages: 359
related names
Author:
Campbell, Lorne (Campbell, Lorne; C., L.)
Author:
Griffey, Erin (Griffey, Erin)
Subjects
places:
Illustrations
Attributed works:
1. Iain Buchanan in the 1970s. (Photograph Simon Buis).
Article
Edward Burne-Jones’s ‘St Francis’ for Father Damien
09/2018 | 1386 | 160
Pages: 745-749
related names
Author:
Schoenherr, Douglas E. (Schoenherr, Douglas E.)
Subjects
collectors and dealers:
dates:
Illustrations
Attributed works:
1. Father Damien, by Edward Clifford. 1888. Watercolour and gouache on paper mounted on cardboard, 28 by 22 cm. (Damien Collection, Leuven).
Attributed works:
2. St Francis receiving the Stigmata, by Edward Burne-Jones. c.1887. Black chalk on paper, 30.5 by 23.5 cm. (British Museum, London).
Attributed works:
3. St Francis receiving the Stigmata, by Walker & Cockerell after Edward Burne-Jones. Photogravure, 15.6 by 10.3 cm. (From G. BurneJones, Memorials of Edward Burne-Jones, London 1904, II, facing p.176).
Attributed works:
4. St Francis receiving the Stigmata, by Edward Burne-Jones. 1887. Gouache, umber and gold on board, 26.7 by 20 cm. (Saint Marianne Cope Shrine & Museum, Syracuse NY).
Attributed works:
5. St Francis, by Frederick Hollyer after Edward Burne-Jones. Photograph, 15.2 by 6.7 cm. (© Courtesy the Huntington Art Collections, San Marino, California).
Attributed works:
6. Father Damien, by Edward Clifford. 1888. Black chalk with wash on cardboard, 25.7 by 19.9 cm. (Damien Collection, Leuven).
Attributed works:
8. Father Damien the leper, by Edward Clifford. 1890. Watercolour and gouache on paper mounted on canvas mounted on panel, 53 by 66 cm. (Damien Collection, Leuven).
Western art unattributed:
7. Father Damien de Veuster in 1868, after Edward Clifford. Photogravure, 32.2 by 23.3 cm. (From E. Clifford: Father Damien: A Journey from Cashmere to his Home in Hawaii, London 1889, frontispiece).
Article
From Giotto to the Bushmen: Roger Fry at the Slade 1909–13
09/2018 | 1386 | 160
Pages: 727-733
related names
Author:
Elam, Caroline (Elam, Caroline; E., C.; E., C. M.)
Subjects
media:
places:
subjects:
Illustrations
Attributed works:
1. Vision, volumes and recession, by Walter Sickert. c.1923, published 1929. Etching, 20 by 11.1 cm. (Courtauld Gallery, London).
Attributed works:
2. The unknown god: Roger Fry preaching the new faith, by Henry Tonks. Exhibited 1923. Canvas, 41.5 by 56 cm. (Private collection; courtesy Pym’s Gallery, London).
Attributed works:
3. Poster for the first Post-Impressionist exhibition, Grafton Galleries, London. 1910. Lettering by Roger Fry. 76.3 by 50.9 cm. (The Courtauld Gallery, London).
Attributed works:
4. The meeting at the Golden Gate from John Ruskin, Giotto and his Works in Padua, Orpington 1900, p.77. (Warburg Institute, London).
Attributed works:
5. Detail of The meeting at the Golden Gate, by Giotto. c.1305. Fresco. (Arena Chapel, Padua; Bridgeman Images).
Attributed works:
6. Some later primitives and Madame Tisceron, by John Currie. 1912. Tempera on canvas, 46 by 127 cm. (The Potteries Museum and Art Gallery, Stoke-on-Trent; Bridgeman Images).
Attributed works:
7. John Donne arriving in heaven, by Stanley Spencer. 1911. Canvas, 37 by 40.5 cm. (Fitzwilliam Museum, Cambridge).
Exhibition Review
Thomas Chippendale studies 1968–2018: reflections on his 300th anniversary
09/2018 | 1386 | 160
Pages: 734-739
related names
Reviewer:
Goodison, Nicholas (Goodison, Nicholas)
Subjects
museums and institutions:
places:
Illustrations
Attributed works:
1. Opposite Secretaire, by Thomas Chippendale. 1773. Mahogany with Chinese lacquer and English japanning, 86 by 136 by 43 cm. (Leeds Museums and Galleries, Temple Newsam House).
Attributed works:
2. Drawing for three chairs by Thomas Chippendale. 1753. Pen and grey wash on paper, 20.3 by 33 cm. (The Chippendale Society).
Attributed works:
3. Card table, by Thomas Chippendale. 1759. Mahogany and oak, 75 by 89 by 46 cm. (closed). (Dumfries House Trust).
Attributed works:
4. Armchair, by Thomas Chippendale. 1767. Mahogany, 96 by 63.5 by 65 cm. (Nostell Priory, The National Trust).
Attributed works:
5. Armchair, by Thomas Chippendale. c.1774. Gilt limewood with tapestry covers. 105 by 70 by 74 cm. (Newby Hall, Yorkshire).
Attributed works:
6. Armchair, attributed to Gillows, based on a plate XVII of The Gentleman and Cabinet-Maker’s Director by Thomas Chippendale, London 1762. 1784. Mahogany, 101.6 by 58.4 by 47.5 cm. (Birmingham Museums Trust, Soho House).
Attributed works:
7. Digital reconstruction of Fig.8, to show the original appearance of the marquetry.
Attributed works:
8. Top of a pier table, by Thomas Chippendale. c.1772. Veneered mahogany, 60 by 196 cm. (The Chippendale Society).
Attributed works:
9. Commode, by Thomas Chippendale. c.1773. Veneered mahogany with gilt-brass mounts, 94 by 228.6 by 63.5 cm. (Renishaw Hall, Derbyshire).
Book Review
Rembrandt’s Themes: Life into Art, R. Verdi
02/2016 | 1355 | 158
Pages: 132-133
related names
Author:
Dewitt, Lloyd (Dewitt, Lloyd)
Subjects
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