European Painting and Sculpture
The collection of European painting and sculpture comprises works of art from the twelfth through the early twentieth century. Ranging from paintings in oil on panel, canvas, or onyx through sculptures in alabaster, bronze, terra-cotta, marble, wax, silver, and painted wood, these works of art come primarily from Italy, France, Spain, the Low Countries (Holland and modern Belgium), Germany, Austria, England, and Switzerland.
The collection of European painting and sculpture can be found on the first and second floors of the Ahmanson building and in the B. Gerald Cantor Sculpture Garden. It includes masterpieces of European art from the Middle Ages through impressionism and the followers of Rodin. Renowned for an outstanding representation of Italian baroque paintings as well as for world-famous masterpieces like Georges de La Tour’s Magdalen with the Smoking Flame (c.1638–40), Rembrandt’s Raising of Lazarus (c.1630), Degas’s The Bellelli Sisters (1862–64), and Cézanne’s Sous-Bois (1894), the collection also boasts paintings by Jacopo Bellini, Rosso Fiorentino, Veronese, Titian, Frans Hals, Rubens, Boucher, Fragonard, Hubert Robert, Tiepolo, Delacroix, Monet, Pissarro, and Gauguin among others.
The sculpture collection is shown integrated with the paintings. The museum displays the only collection of medieval sculpture in Southern California and is famed for its Renaissance and baroque polychrome sculptures. Of particular note are the French eighteenth-century terra-cottas, with examples of the work of Tuby, Clodion, Chinard, and Pajou. The nineteenth century is richly represented with sculptures by David d’Angers, Rude, Carrier-Belleuse, Dalou, Falguière, and above all, Auguste Rodin, to whom an entire gallery is devoted. A selection of approximately 150 medals, from the Renaissance through the 1930s, is a representative group from the 1300 medals and plaquettes in the collection.
GEORGES DE LA TOUR atopatop
(France, 1593–1652)
Magdalen with the Smoking Flame, c. 1638-40
Oil on canvas
46 x 36 1/8 in. (116.8 x 91.8 cm)
Gift of The Ahmanson Foundation, M.77.73
Although Georges de La Tour spent his entire artistic career in provincial France, far from cosmopolitan centers and artistic influences, he developed a poignant style as profound as the most illustrious painters of his day. In his lifetime his work appeared in the prominent royal collections of Europe. La Tour's early training is still a matter for speculation, but in the province of Lorraine he encountered the artist Jean Le Clerc, a follower of the Italian painter Caravaggio. From this source likely came La Tour's concern with simplicity, realism, and essential detail.
Mary Magdalen was traditionally depicted in her grotto or as an aged woman.
If the above mentioned paintings do not sound intriguing, the Frick’s remarkable holdings also include works by David, Goya, Renoir, Bruegel, and Velasquez. However, its collection is not limited to paintings only as significant sculptures like Bernini’s “Head of an Angel” from 1655 and Clodion’s ”Zephyrus and Flora” from 1799 can be found there as well. Along with these sculptures, an extensive collection of Italian bronzes and eighteenth century furniture combine to create a museum which although is small in size compared to the Metropolitan Museum of Art, makes up for it with an extensive collection of carefully selected pieces from some of the world’s most renowned artists.
Davis, Bruce. Mannerist paintings: international style in the sixteenth century. Los Angeles, Calif.: Los Angeles County Museum of Art, 1988
This paper will discuss and compare A Faun Teased by Children sculpture, of the Italian Baroque style, and the Little Fourteen Year Old Dancer of the French impressionist style. These two sculptures give us a clear insight and allows us to peer in on the moment that is taking place. The active movement, strong diagonals and dramatic facial expressions of the figures in A Faun Teased by Children tells the on looker a vivid detailed story of the actions that are taking place and what role each figure is taking on, in a mythical scene, while the stagnant and serene pose of the Fourteen Year Old Girl resonates calmness and a moment that has not taken place just yet.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Although he was a skillful leader throughout the revolution, General Benedict Arnold is best known as the man who betrayed his country. After reading more about him, one has to wonder if the betrayal was solely one-sided.
In the end, Benedict Arnold's "moral failure lay not in his disenchantment with the American cause" for many other officers returned to civilian life disgusted with the decline in republican virtue and angry over their failure to win a guaranteed pension from Congress. Nor did his infamy stem from his transfer of allegiance to the British side, for other Patriots chose to become Loyalists, sometimes out of principle but just as often for personal gain. Arnold's perfidy lay in the abuse of his position of authority and trust: he would betray West Point and its garrison "and if necessary the entire American war effort" to secure his own success. His treason was not that of a principled man but that of a selfish one, and he never lived that down. Hated in America as a consort of "Beelzebub ... the Devil," Arnold was treated with coldness and even contempt in Britain. He died as he lived, a man without a country.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Mor-Barak (2011), takes a global perspective and defines workplace diversity as “the division of the workforce into distinction categories that have a perceived commonality within a given cultural or national context, and that impact potentially harmful or beneficial employment outcomes such as job opportunities, treatment in the workplace, and promotion prospects-irrespective of job-related skills and qualifications”. This definition provides a broad leeway by not including specific examples of the distiction categories, thus leaves open the opportunity to include relevant categories that match s...
The location of the artwork was located on the 2nd floor of the museum. It was kind of difficult to find as it is not listed on the map. The painting is framed and placed near the corner of the entrance to another room. The artwork measured about 3 feet by 6 feet. It is placed near paintings of portraits. This was one of the reasons why I choose this painting. As soon as I walked into the room, it caught my eyes right away as not only was it different from the other artwork in the room but it also consisted of many colors in the paintings. It was also one of the biggest artwork in the room. The room itself was fairly large. There was enough lighting to get a good look at the art work but much dimmer compare to the other rooms. The lighting fits perfectly with the period. Every artwork in the room was spread out evenly with enough spacing between them. There were about 2 artworks near the center of the room but most of the artworks were hung up against the wall.
Having diversity in the workplace allows for greater growth within a company due to the different opinions and perspectives of people from all walks of life. To remain competitive, many companies are being advised to recruit, develop and retain men and women of all different backgrounds, ages and races (Cox and Blake, 1991). By doing this and also accommodating the needs of their demographically diverse workforce, companies will become much more appealing places to work therefore reducing turnover and absentee
World Art Collections Exhibitions, Sainsbury Centre for visual arts, No date given, found here: http://www.scva.ac.uk/education/resources/pdfs/13.pdf, (accessed 26/11/2013).
The Italian Renaissance included some of the greatest artists we have ever seen from Leonard Da Vinci, to Michelangelo, and Raphael. The Renaissance took place from the late thirteenth to sixteenth centuries and is know as the ‘rebirth’. The idea that the rebirth of the arts after being asleep for a thousand years is an amazing thing to grasp. This time brought back light to liberal arts, which were on the brink of being extinct. (Murray 2) What is also interesting about art during this time was that most of the art had Christian in its roots, for example, Botticelli’s The Allegory of Spring (Faure 1) is said to have had a Christian interpretation. (Murray) “Every Italian artist, willingly took the title of architect, sculptor, and painter” (Faure 2). At the beginning of the fifteenth century, the Italian painters had asked the Flemish painters for their secret techniques because the Italians felt like the language of painting was one that was always meant for them. (Faure 4) The sculptors claimed their inspiration from ancient works. Lastly the Renaissance introduced idea of individualism, which helped the Italians get away from everything that was going on during that time. Art during the Renaissance included painting, sculpting and architecture, all of which were an important part in expressing the idea of individualism and making art what is is today.
In the art world, the medieval periods were traditionally though to be the unproductive phase of Europe between the decline of Rome and the Renaissance. Our modern feelings toward medieval art are far more appreciative. The main intent of Medieval art was to express Christianity which was also a common bond between a wide spread and diverse Europe. For this reason most of the art found from medieval times originated in monasteries and churches. European art during the Middle Ages can be divided into four periods. These four periods include Celto-Germanic art which ranged from 400 to 800 A.D. and was important in metal work. Carolingian art ranged from 750 to 987 A.D. overlapping 50 years of the Celto-Germanic period. The period of Romanesque art spanned mainly the eleventh and twelfth centuries, and was an important period for medieval architecture. Gothic art, the final period of the Middle Age art began in the Romanesque period around the twelfth century and went on until the sixteenth century. Artwork form these four periods all consist of distinct styles setting them apart from one another.
Roman art is based off of a stylistic cycle with a realistic base. Roman art has different stages which some call classicizing because it emphasizes different aspects of presentations. The word classicizing is mainly use to recognize that Roman art is based off of the Greek art style. For example both art periods have smooth lines, naturalistic forms and a lot of nude bodies. Romans seem to really care about services to their government and hard work. Because of this many citizens reflected these ideas in their artwork by making them based off of real life events and people. Most artwork would display hard work and wisdom. Roman portraits