2017年5月22日 星期一

The Parthenon : from antiquity to the present / edited by Jenifer Neils

Table of contents for The Parthenon : from antiquity to the present / edited by Jenifer Neils.

The Parthenon的目錄:從古代到現在/由Jenifer Neils編輯。

List of Plates
List of Illustrations
Chapter 1. Space and Theme: The Setting of the Parthenon
Jeffrey M. Hurwit
Chapter 2. Wealth, Power, and Prestige: Classical Athens at Home and Abroad
Lisa Kallet
Chapter 3. The Architecture and Architects of the Classical Parthenon
Barbara A. Barletta
Chapter 4. Bending the Truth: Curvature and Other Refinements
Lothar Haselberger
Chapter 5. A Celebration of Victory: The Metopes
Katherine Schwab
Chapter 6. "Noblest Images on All Sides": The Ionic Frieze
Jenifer Neils
Chapter 7. Fire from Heaven: The Pediments and Akroteria
Olga Palagia
Chapter 8. The Statue of Athena and Other Treasures
Kenneth Lapatin
Chapter 9. "Bestride the Very Peak of Heaven": The Parthenon after Antiquity
Robert Ousterhout
Chapter 10. "Well Recorded Worth": Photographs of the Parthenon
Andrew Szegedy-Maszak
Chapter 11. The Parthenon in the Modern Era
Richard A. Etlin


霍夫維(Jeffrey M. Hurwit)
Jenifer Neils
安德魯Szegedy Maszak

Library of Congress Subject Headings for this publication:
Parthenon (Athens, Greece).
Athens (Greece) -- Antiquities.

2017年5月20日 星期六

Giovanni Battista Tiepolo,

Pulcinella (Italian pronunciation: [pultʃiˈnɛlla]), a name derived from "pulcino," meaning chick, and "pollastrello," meaning rooster,[2] is a classical character that originated in commedia dell'arte of the 17th century and became a stock character in Neapolitan puppetry. Engineered specifically to be the star of southern Italy, he is described as "the voice of the people, as the direct expression of a people as lively and spirited as the Neapolitans is never questioned."[3] Pulcinella's versatility in status and attitude has captivated audiences worldwide and kept the character popular in countless forms since his introduction to commedia dell'arte by Silvio Fiorillo in 1620.[4]

プルチネッラ (イタリア語Pulcinella) は、イタリアの伝統的な風刺劇コメディア・デラルテに登場する道化師である。高い鼻と太鼓腹、白い服とは対照的な黒いマスクを外見的特徴とする。
Giovanni Battista Tiepolo
Giovanni Battista Tiepolo, also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany and Spain. Wikipedia
BornMarch 5, 1696, Venice, Italy
DiedMarch 27, 1770, Madrid, Spain
SpouseMaria Cecilia Guardi (m. 1719–1770)

National Gallery of Art 新增了 2 張新相片

An ‪#‎XRay‬ is a type of radiation that can reveal much about a work of art, including the artist's working process and materials, as well as an artwork’s history and condition. The degree of x-ray penetration is dependent on a material's atomic weight: the lower the atomic weight, the more easily x-rays will pass through and appear dark in the x-radiograph; in contrast, materials of a high atomic weight absorb x-rays and will appear white.

Similarly, the thickness of materials will also affect the degree of opacity in an x-ray film. For example, the x-radiograph of Tiepolo’s “Young Lady in a Tricorn Hat” reveals several compositional changes, showing us that the artist reworked the composition. What changes can you see? Why do you think the artist chose to make those changes?

The most dramatic change is the woman’s fan, originally painted open. In addition, we can see a shift in her fingers, as they were originally painted to accommodate the open fan. The radio-dense paint ‘lead white’ was likely used to paint the fan--allowing us to clearly see the change in the x-radiograph. Similarly, there are numerous changes to the contours of the open fan--before it was completely altered--and the position of the woman’s mask. This suggests that both were reworked during the artist’s process. What more can you find? ‪#‎ArtAtoZ‬

X-radiograph of "Young Lady in a Tricorn Hat," Giovanni Battista Tiepolo, c. 1755/1760, oil on canvas, National Gallery of Art, Washington, Samuel H. Kress Collection, 1952.5.77

National Gallery

Tiepolo's 'An Allegory with Venus and Time' was probably carried out as the central decoration for a ceiling in a palace. It is designed to be seen from below, at an angle: http://bit.ly/1IEeey5

Happy birthday to Giovanni Battista Tiepolo, born on this day in 1696. In his hands, the informal oil sketch was raised to a primary art form, worthy to be collected alongside his finished paintings. Learn more and view a slideshow of works: http://met.org/1DUFlAF

Giovanni Battista Tiepolo (Italian, 1696–1770) | Allegory of the Planets and Continents | 1752

Giovanni Battista Tiepolo was famed as a decorator. The artist made this small sketch as his model for a vast ceiling fresco in the throne room of the Royal Palace of Madrid. This project, taking its cue from the room's function, was the climax of his illustrious career.
Zoom in to examine Tiepolo's design by clicking this link:http://go.usa.gov/xDpVm. In the center we see the allegorical figure of Spain enthroned and flanked by Herculean statues. Just above is the trumpeting figure of Fame. The borders are packed with lively figures representing the provinces of Spain and the continents where she held colonies. Imagine you are standing in a large, high-ceilinged space with this design above you. What details catch your eye? Are there any that you might associate with the Americas? What are they?
Giovanni Battista Tiepolo, "Wealth and Benefits of the Spanish Monarchy under Charles III," 1762, oil on canvas, National Gallery of Art, Washington, Samuel H. Kress Collection