The Munich Palma-Albums (cat. essay), and 14 entries: Tintoretto, Veronese, Titian, Lotto etc., In: ZEITLER, Kurt: Venedig. La Serenissima – Zeichnung und Druckgraphik aus vier Jahrhunderten, Berlin/Munich 2022, pp. 52–87, 134–136, 163–165, 228–230, 240–254, 257–259, 265–268, 270–272, 304–307. (original) (raw)
Related papers
Studi sul Settecento Romano. Giovanni Battista Piranesi predecessori, contemporanei e successori. Studi in onore di John Wilton-Ely, 2016
e s t r a t t o a u t o r e PROPRIETÀ LETTERARIA RISERVATA Studi sul Settecento Romano Rivista annuale, anvur classe A In copertina: Pietro Labruzzi, Ritratto di Giovanni Battista Piranesi, part., 1779. Comune di Roma -Sovrintendenza Capitolina ai Beni Culturali -Roma, Museo di Roma, MR 3440. La rivista adotta il sistema del blind review: gli articoli presentati sono sottoposti al duplice vaglio prima del Comitato Scientifico, e poi dei revisori anonimi designati dal Comitato Scientifico stesso. È inoltre aperta a studiosi di qualsiasi livello di carriera, che possono inviare i loro contributi, anche in lingua inglese, francese, spagnolo, tedesco, non superiori alle dodici cartelle di massima, a Edizioni Quasar, via Ajaccio 41-43, 00198 Roma (redazione@edizioniquasar.it). Studi sui Settecento Romano (Autoriz. Tribunale di Roma n. 403/86 del 18 agosto 1986) Direttore responsabile: Stefano Marconi © Roma 2016 by Sapienza Università di Roma e Edizioni Quasar Edizioni Quasar di Severino Tognon srl via Ajaccio 41-43 -I-00198 Roma, tel. (39)0685358444, fax (39)0685833591 per informazioni e ordini: www.edizioniquasar.it e s t r a t t o a u t o r e Vasi, urne, cinerarie, altari e candelabri Newly identified drawings for Piranesi's antiquities and sculptural compositions at the Staatliche Kunsthalle Karlsruhe Georg Kabierske e s t r a t t o a u t o r e
The Bryn Mawr Classical Review, 2006
The book under discussion is a beautifully published substantial volume, with splendid (often full-page) photographs. Emphasis is on these photographs-with comparatively little text. It is, therefore, surprising that the photographer's name, Luciano Romano, is absent from the cover. He is, luckily, mentioned on the title page.
Carlo Scarpa's Drawing 31615 for the Museo Castelvecchio (Redacted) June 2019
Frascari Symposium IV: Kingston School of Art, London, England, 2019
Depict | Demonstrate | Disclose: Drawing 31615 Architectural drawings can be problematic for traditional archives. Unlike paintings, sculptures, and decorative arts, which are accessioned, architectural sketches (and in some cases, drawings) may not. They can be the flotsam and jetsam in an archival terra incognita. Even at the well-organized Centro Carlo Scarpa at Treviso, for example, I’ve encountered uncatalogued or misattributed drawings, absent identifying nomenclature on virtual scraps of paper. Family-owned archives present their own unique challenges. While visiting the apartment Scarpa shared with his wife Nini, at the Villa Palazzetto in Monselice, for example, longtime client and Scarpa friend, Aldo Businaro (who was developing his own archive) opened the drawer of a bedside nightstand. In mid-sentence, he began pulling out A4 sheets covered with Scarpa sketches –heretofore unknown to Businaro. Discovering Scarpa drawings is one thing; access to collections is another matter. When I began researching landscape and garden in the oeuvre of Scarpa two decades ago, I had entry to fewer than 1,000 original drawings: the Castelvecchio archives at Verona, the Fondazione Querini-Stampalia, and the private collections of Guido Pietropoli, Arrigo Rudi, and Aldo Businaro. The remainder, more than 20,000 graphic works of various types and sizes, were stored in the professional office of Tobia and Afra Scarpa in Montebelluna, where they presented Tobia and his then partner/wife Afra, with birthright and burden. In large part, because of this onus on the Scarpas, and the shadow cast by the father on the work of the son, access to the drawings was limited to a handful of former associates and academics. These are the graphic documents that since 2006, constitute the bulk of the collection at the Archivio di Stato di Treviso. The timing of my first research visit to the Museo Castelvecchio archive in 1998, would have been poor had I come to see only the famous “factures,” as Marco Frascari calls them in Eleven Exercises, of Cangrande’s new setting, and Scarpa’s exuberant details. Most were out for cleaning in preparation for the 1999 exhibition at the CCA. Fortunately, my interest lay in the flotsam and jetsam.
Catalogue entries on Francesco Salviati, Giorgio Vasari, Titian and Ugo da Carpi
Bastian Eclercy and Hans Aurenhammer (eds.), Munich / London / New York: PrestelTitian and the Renaissance in Venice, exh. cat. Frankfurt, Städel Museum, , 2019
Pen and brown ink wash white heightening on blue paper cm Berlin Staatliche Museen Kupferstichkabinett inv no KdZ BIBLIOGRPHY exh cat Saarbrücken pp f cat no Florian Härb exh cat Berlin p cat no Dagmar Korbacher Härb p cat no Study for Allegory of the Fourth Hour of the Day / Pen and brown ink over traces of black crayon brown wash with opaque white heightening on grey blue paper cm Düsseldorf Museum Kunstpalast inv no KA FP BIBLIOGRAPHY Härb pp f cat no Brink I pp f cat no A
European drawings : catalogue of the collections
J. Paul Getty Museum eBooks, 1988
This volume represents the first in a series of catalogues of the Getty Museum's drawings collection. It contains entries on our acquisitions from 1981 through 1985 and takes into account bibliographical information through 1986. It is anticipated that future volumes will appear at more or less regular intervals marked by additions to the collection in sufficient numbers to warrant new publications. Later catalogues will also contain further material on the drawings included in this one. The format of this and future volumes will be standardized, with drawings organized by national school, alphabetically by artist's name, and then chronologically. The physical description of each sheet will mention any noteworthy irregularities. The writing and production of this catalogue have involved the assistance of many individuals. I am grateful to Lee Hendrix, Assistant Curator, and Gloria Williams, Catalogue Assistant, for their work on all aspects of the project, ranging from the drafting of the introductory biographies to the contribution of many useful ideas about individual drawings. Their specific suggestions-like those of other scholarsâ re duly noted in the appropriate places in the text. Nancy Yocco^ Conservation Assistant, carefully recorded relevant information about the condition of each drawing and the inscriptions and marks that each one bears. The entire text was reviewed and helpful criticisms offered by three readers: Diane DeGrazia, for the Italian drawings; Beverly Jacoby, for the French and Spanish drawings; and Anne-Marie S. Logan, for all of the Northern and British drawings. Giulio Bora was kind enough to read over those entries dealing with Lombard drawings and to make several helpful suggestions. Andrea P. A. Belloli took over the editorship of the catalogue at an especially difficult moment and carried out her role with the optimum blend of editorial sternness and good cheer. Patrick Dooley produced the design of the volume. Lastly, many scholars have offered suggestions. In every case I have attempted to note their contributions in the entries on individual sheets, and thank them here collectively for their advice. Notwithstanding my respect for their opinions and for those of other scholars, full responsibility for the attributions and views expressed in the catalogue is my own. Where they depart from the opinions of others they do so respectfully, but unapologetically, since I believe that each connoisseur must attempt to make his or her own judgments instead of reporting the results of scholarly polls. The publication of the first volume of our serial catalogue is an appropriate moment to thank the many people who have made possible the existence and development of the collection. Harold Williams and Otto Wittmann supported our initial purchase of the Rembrandt, and have-along with other members of the Board of Trustees-given great encouragement throughout the last six years. Since his appointment in 1983 as director, John Walsh has encouraged the evolution of a broader concept for the collection and has given me a degree of freedom and support unusual for any curator. Within the department, Lee Hendrix has been of enormous assistance with all curatorial matters, while Nancy Yocco has looked after the physical care of the drawings with exemplary dedication. Outside the Museum, Alexander Yow deserves special mention for the fine restoration work he has carried out on a number of our drawings and for his advice. In addition other scholars and dealers too numerous to list here have been of assistance in myriad ways. It is my hope that all those who have contributed to the beginnings of the collection and the i Study of a Kneeling Figure with aSketchofaFace r Figure Study and Face v Red chalk, black chalk sketch efface (recto); red chalk (verso); sheet torn horizontally and repaired; H: 27.2 cm (io jl /i6in.); W: 19.8 cm (y I3 /i6in.) 84.06.7 MARKS AND INSCRIPTIONS: (Recto) at top, right of center, inscribed jp = in black chalk superimposed on 95 in red chalk.