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Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
Starting in the year 1828, Lucien Bonaparte, Prince of Canino, unearthed more than 2000 Greek vases on his estate near the ancient Etruscan town of Vulci. The vases were restored and found their way to archaeological collections all around the world. This volume publishes 10 papers by scholars of international repute dealing with these ceramics. The papers were presented in 2015 at a colloquium in the National Museum of Antiquities in Leiden, which acquired 96 vases from the Bonaparte collection in 1839. Specialists in the fields of museum history, Greek vase-painting, restoration and 19th century collecting practices from the Netherlands, France, Germany, Denmark, Austria, Italy and Russia have contributed to this volume, which offers the newest insights into the person of Lucien Bonaparte, his excavation practices, the history of restorations and the selling and buying of Greek ceramics in the 19th century. The results have helped to extend our knowledge of the collectors, traders and scholars, who were concerned with Greek vases during the 19th century. Their activities took place in a pivotal period, in which the black- and red figure ceramics, which had come to light in Italy during the previous centuries, were finally assigned to Greek craftsmanship instead of to Etruscan manufacture. The book also contains a concise photographic catalogue illustrating the highlights of the Leiden Canino collection.
Om portrætter af den franske maler Jean Auguste Dominique Ingres (1780-1867)
The J. Paul Getty Museum Journal 17 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, decorative arts, drawings, and photographs. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 17 includes articles written by Elisabeth Doumeyrou, Gerhard Gruitrooy, Lee Hendrix, Clark Hulse, David Jaffé, Jean-Nérée Ronfort, and Belinda Rathbone.
"This catalogue examines one of the most important educational tools and sources of inspiration for Western artists for over five hundred years: drawing after the Antique. From the Renaissance to the 19th century, classical statues offered young artists idealised models from which they could learn to represent the volumes, poses and expressions of the human figure and which, simultaneously, provided perfected examples of anatomy and proportion. For established artists, antique statues and reliefs presented an immense repertory of forms that they could use as inspiration for their own creations. Through a selection of thirty-nine drawings, prints and paintings, covering more than four hundred years and by artists as different as Federico Zuccaro, Hendrick Goltzius, Peter Paul Rubens, Charles-Joseph Natoire, Henry Fuseli and Joseph Mallord William Turner, this catalogue provides the first overview of a phenomenon crucial for the understanding and appreciation of European art."--Page 2 of cover.
This catalogue and its companion volume of essays are published in conjunction with the exhibition "The Private Collection of Edgar Degas," held at The Metropolitan Museum of Art, New York, from October 1, 1997, to January 11, 1998.