2017年11月30日 星期四

The A. W. Mellon Lectures in the Fine Arts

The A. W. Mellon Lectures in the Fine Arts 的資訊經營，應該向諾貝爾獎學習。


From Wikipedia, the free encyclopedia
The A. W. Mellon Lectures in the Fine Arts were established in 1949 to bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the fine arts.[1] The lectureship has since become an important honor bestowed upon important scholars and critics. Speakers have included Mary Miller, Anthony Grafton, Kirk Varnedoe, Helen Vendler, T. J. Clark, among many others.

A. W. Mellon Lectures in the Fine Arts - National Gallery of Art

https://www.nga.gov/audio-video/mellon.html

The A. W. Mellon Lectures in the Fine Arts were inaugurated in 1949. Endowed by a gift of the Old Dominion Foundation and the Avalon Foundation (creations of Paul Mellon and his sister, Ailsa MellonBruce, respectively) the lecture series ...

Alexander Nemerov, department chair and Carl and Marilynn Thoma Provostial Professor in the Artsand Humanities, Stanford University. In the six-part lecture series The Forest: America in the 1830s, Nemerov explores the Hudson River ...


The A.W. Mellon Lectures in the Fine Arts

Fifty Years

Introduction by Elizabeth Cropper
View InsidePrice: $39.95

January 11, 2003
256 pages, 8 1/4 x 11 3/4
63 b/w illus.
ISBN: 9780300099614
Paper
National Gallery of Art, Washington
Description
 
The A. W. Mellon Lectures in the Fine Arts were begun in 1952 at the National Gallery of Art in order to bring the best in contemporary scholarship to the public. To mark the fiftieth anniversary of the acclaimed series, the Center for Advanced Study in the Visual Arts has published this handsomely illustrated documentary volume. The book tells the story of the genesis of the lectureship, featuring essays by a variety of contemporary scholars that discuss the first fifty lecturers—ranging from Jacques Maritain to Salvatore Settis and including such influential speakers as Anthony Blunt, Kenneth Clark, H. W. Janson, E. H. Gombrich, Kathleen Raine, Jacques Barzun, and Arthur Danto—their fields of expertise, and the subject matter and historical context for their talks. These graceful and balanced writings provide a vivid sense of the significance of the lectureship and its participants through commentary, critique, and lively personal anecdotes. 
Elizabeth Cropper is dean of the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington, D.C.


Browse Princeton's Series (by Date) in The A. W. Mellon Lectures in the Fine Arts

The A. W. Mellon Lectures in the Fine Arts
The A. W. Mellon Lectures in the Fine Arts have been delivered annually since 1952 at the National Gallery of Art, Washington, D.C. They are afterward published in Bollingen Series, under the collective number XXXV.

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Rembrandt 'David’s Farewell to Jonathan'



圖像裡可能有1 人、站立
'David’s Farewell to Jonathan' depicts an episode from the Old Testament (1 Samuel XX: 41, 42). King Saul, suspecting his military commander David of wishing to seize the throne, decided to have him killed. Saul’s son, Jonathan, loved David 'as his own soul’ and told him of his father’s plan, to allow him to escape.
Virtual Academy. Rembrandt in the Hermitage - http://bit.ly/2iht7Sc

35次日清早，約納堂按照他與達味的約會，往田間去了；有個僮僕跟隨著他。
36他對那僮僕說：「跑去，找我所放的箭！」僮僕往前跑時，他又向前射了一箭。
37當僮僕來到約納堂的箭所射到的地方時，約納堂就在僮僕後面喊說：「箭不是在你前面嗎？」
38約納堂又在僮僕後面喊說：「趕快跑去，不要站住！」約納堂的僮僕就拾了箭，給主人拿來。
39那僮僕卻不知道是什麼意思，只有約納堂和達味知道。
40然後約納堂把自己的武器交給跟隨他的僮僕，向他說：「帶回城去罷！」
41僮僕走後，達味就從石堆旁起來，俯伏在地，拜了三拜；以後他們彼此相吻，二人相抱對泣，達味哭得更甚。
42最後，約納堂對達味說：「你平安去罷！照我們兩人以上主的名所起的誓：願上主永遠在我與你之間，在我的後代與你的後代之間！」


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2017年11月28日 星期二

John Baldessari

The great conceptual artist John Baldessari finds the animal icons so stupid and fascinating, he has turned them into a vast menagerie, full of cheesy lines from films
John Baldessari on his giant emoji paintings: 'I just wondered what they'd look like large'
The great conceptual artist finds the animal icons so stupid and fascinating, he has turned them into a vast menagerie, full of cheesy lines from films. We visit his Venice studio – and find icebergs are next
THEGUARDIAN.COM





John Anthony Baldessari (born June 17, 1931) is an American conceptual artist known for his work featuring found photography and appropriated images. He lives and works in Santa Monica and Venice, California.
Initially a painter, Baldessari began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 he began working in printmaking, film, video, installation, sculpture and photography.[1] He has created thousands of works that demonstrate—and, in many cases, combine—the narrative potential of images and the associative power of language within the boundaries of the work of art. His art has been featured in more than 200 solo exhibitions in the U.S. and Europe.[2] His work influenced Cindy Sherman, David Salle, Annette Lemieux, and Barbara Kruger among others.[3][4]



John Baldessari, Studio, 1988, Lithograph and silkscreen on Sommerset paper, 25 ¾ x 34 in, Los Angeles County Museum of Art
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2017年11月27日 星期一

德國巴伐利亞國王路德維希二世


德國巴伐利亞國王路德維希二世不僅建造了豪華的城堡，如新天鵝堡(Neuschwanstein)與海倫基姆湖宮(Herrenchiemsee)。就連當時他所乘坐的火車，其車廂裡也裝飾成富麗堂皇的大廳。

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2017年11月26日 星期日

女圖冊 (改七薌畫)


From Wikipedia, the free encyclopedia


改琦畫象
改琦（1773年－1828年），字伯蘊，號香伯，一號七薌，又號玉壺外史，江蘇華亭（今上海市松江區）人，祖籍北京宛平，是清代中期的畫家。
先世為西域人，祖父改光宗曾任壽春鎮總兵。改琦多才多藝，尤善繪畫，其人物畫被認為是嘉道後最工者，其畫受李公麟、趙孟頫、唐寅、陳洪綬等影響，花草竹等畫也擅長。曾繪《紅樓夢圖》。除繪畫之外，也擅長詞，著有《玉壺山房詞選》二卷、《硯北書稿》一卷、《茶夢庵隨筆》二卷。

參考資料[編輯]

  • 錢仲聯主編《中國文學家大辭典清代卷》（北京：中華書局，1996年），頁429-430。
Two Beauties in a Garden, detail
Gai Qi (Chinese: 改琦; zi Bowen 伯蕰, hao Qiliang七郎, secondary hao Yuhu waishi 玉壶外史 1774-1829) was a poet and painter born in western China during the Qing dynasty. As an artist, he was active in Shanghai. In painting his works mainly concerned plants, beauty, and figures. However he also did numerous landscapes. In poetry he preferred the rhyming ciform and added such poems to his paintings.
His social circle included prominent literati as well as artists. He organized both a literary society and a Buddhist lay society. His work often used a delicate baimiao (outline) style, which can be clearly see in his illustrations for Honglou meng, (Dream of the Red Chamber).[1] The illustrations are chiefly portraits of the main characters in the novel. Numerous poets, including the renowned woman poet Zhou Qi, wrote poems to accompany the illustrations.[2]
The scholar Wang Qisun 王岂孙 commissioned Gai Qi to paint an album of famous Chinese women, both historical and legendary. Wang's second wife, Cao Zhenxiu 曹贞秀 wrote poems about the women and did the calligraphy in the album.[3] Gai took as a student the talented woman painter and poet Qian Shoupu 錢守璞(ca. 1801-1869).[4] He was associated with the painter Fei Danxu 费丹旭 in what has been called the "Gai Fei" school. Gai's grandson continued the tradition of the Gai Fei school, along with descendants of Fei Danxiu.[5] He is perhaps best known today for the Hongloumeng tiyong, a book of portraits of characters in Dream of the Red Chamber accompanied by poems about the characters. The book was based on paintings done by Gai Qi, but was not published until 1884, long after its death. The book is still in print.


The Metropolitan Museum of Art, New York
In the latest episode of MetCollects, Assistant Curator Joseph Scheier-Dolberg takes a first look at the album “Famous Women,” a quietly audacious collaboration between the Qing dynasty author Cao Zhenxiu and painter Gai Qi.
Famous Women | MetCollects | The Metropolitan Museum of Art
Cao Zhenxiu, Gai Qi, Qing dynasty, China, painting, department of asian art, asian art, famous women
METMUSEUM.ORG

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