Entries Tagged as 'New York'

Mellon Foundation Postdoctoral Fellowship

GRANT: Mellon Foundation Postdoctoral Fellowship, Institute of Fine Arts, New York University. Contact by e-mail

The Institute of Fine Arts announces a postdoctoral fellowship supported by a grant from the A. W. Mellon Foundation. This award will be for academic years 2012 – 2014. The A. W. Mellon Postdoctoral Fellow will be in residence at the Institute of Fine Arts, New York University. The fellowship is held in conjunction with the IFA/Andrew W. Mellon Foundation review of research and teaching in the fields of art history, archaeology and conservation. This fellowship will give the Fellow the opportunity to pursue a research project while gaining teaching experience at a graduate level and while participating in a major international research initiative. The Fellow is expected to carry out research on a project leading to a major publication. The fellow will participate in the meetings of the relevant working groups and will teach one graduate level course each year. In addition to these responsibilities, in the second year the Fellow is to organize a seminar, conference, or workshop stemming from their research topic.

The A. W. Mellon Postdoctoral Fellowship award is $55,000 per year, with benefits. There is a further  $12,000 housing allowance and $2,000 for travel and research expenses.

Postdoctoral fellows are expected to reside in New York and to participate fully in the research activities of the IFA throughout the fellowship period. Fellows are provided with office space and have access to the resources of the libraries of the IFA and New York University as well as other specialized research libraries and collections in New York.

There are no restrictions about the field of study, and applications are encouraged in fields not currently taught at the Institute of Fine Arts. Selection will be based on the merits and feasibility of the proposed research and on the academic and research excellence of the candidate. A. W. Mellon Postdoctoral Fellowships may not be postponed or renewed.

Candidates must submit five (5) copies of application forms, including all materials. Three letters of recommendation in support of the application are required. After a preliminary selection, finalists may be interviewed in February 2012. The fellowship award will be announced by 30 April 2012.

Application deadline: 1 November 2011.

Applications should be mailed to:
Andrew W. Mellon Research Activities Coordinator
Institute of Fine Arts, New York University
1 East 78th Street
New York, New York 10075

Further information to apply

Source: H-ArtHist

Passion in Venice

EXHIBITION – Passion in Venice: Crivelli to Tintoretto and Veronese, New York, Museum of Biblical Art (1865 Broadway at 61st Street, New York, NY 10023, phone: 212.408.1500), 11 February – 12 June 2011.

Passion in Venice presents a sacred theme central to the history of Christian Art: Christ as Man of Sorrows.  This devotional image offers the piteous, half-length Savior variously paradoxically standing erect in death, slumped in death and supported by angels, or displaying some pre-resurrection combination of vitality and death.  This portrayal of Christ visualizes Isaiah 53:3: “He was despised, and rejected by men; a man of sorrows, and acquainted with grief.”  Its origins rooted in Byzantium, the figure entered Venetian art in the late Middle Ages after which it flourished locally for centuries, eventually acquiring its own name in dialect, Cristo Passo.  The exhibition will trace the ongoing conventions and artistic permutations of this visual type into modern times.

Drawn from international loans, Passion in Venice examines the rich visual tradition of the sorrowful Christ in Venice through a wide range of representations of the theme across different media, including illuminated manuscripts, paintings, prints, sculpture, and liturgical objects.  The exhibition also will address the issue of how this remarkable theme – the dead Christ beyond space and time – reflected and shaped Venetian piety in the Renaissance and immediately thereafter.

Learn more

An Uneasy Communion

EXHIBITION – An Uneasy Communion: Jews, Christians, and the Altarpieces of Medieval Aragon, Museum of Biblical (1865 Broadway at 61st Street, New York, NY 10023-7505), February 19 – May 30, 2010.

This exhibition discusses the last two centuries of medieval Spanish history in the Crown of Aragon (the Kingdom of Aragon, the Kingdom of Valencia, and the region of Catalonia) from the vantage point of religious art, and demonstrates the documented cooperative relationship that existed between Christians and Jews who worked either independently or together to create art both for the Church and the Jewish community. Religious art was not created solely by members of the faith community it was intended to serve, but its production in the multi-cultural society of late medieval Spain was more complicated. Jewish, Christian, and Muslim artists worked together in ateliers producing both retablos (large multi-paneled altarpieces) as well as Latin and Hebrew manuscripts. Jews and conversos (Jews who had converted to Christianity) were painters and framers of retablos, while Christians illuminated the pages of Hebrew manuscripts.

The exhibition tells not only the story of this fascinating moment of artistic collaboration, it also provides a glimpse into the lives of these communities which lived side by side. Images in some retablos reflect the hardships of Jewish life in the fourteenth and fifteenth centuries: conversions, forced sermons, disputations, the Inquisition, and charges of host desecration and blood libel. Other extraordinary paintings project a messianic view of a future in which Jews would join with Christians in one faith.

For further details view the site of the MOBIA

The Bernard H. Breslauer Foundation’s Grants

The B.H. Breslauer Foundation, Empire State Building, suite 7210, 350 Fifth Avenue, New York, NY 10118, Telephone: +33622-047580 (F. de Marez Oyens). Contact: BreslauerFDN@att.net

The Foundation is a private charitable foundation under Sec 501 (c) (3) of the Internal Revenue Code. Its main purpose is to give grants to libraries and not-for-profit institutions that collect rare books and manuscripts and are domiciled in the United States and to U.S. affiliates of foreign institutions that constitute “Charitable Organizations” under the Internal Revenue Code.

The Foundation’s Board of Directors will accept requests for grants from Institutional Libraries to help fund major acquisitions of manuscripts, printed books and bookbindings.

Applications for grants to make specific acquisitions can be made by correspondence or e-mail, and urgent requests may even be made by telephone. They should be accompanied by as much relevant documentation as possible on the desired acquisition, as well as precise information on provenance and price. Because of the nature of the rare book market and the auction process, the officers of the Foundation realize that effective decisions often need to be made promptly. Under any circumstances, their decisions will be final.

The Drawings of Bronzino (Exhibition)

EXHIBITION – The Drawings of Bronzino, The Metropolitan Museum of Art (1000 Fifth Avenue. New York, New York 10028, Galleries for Drawings, Prints, and Photographs, 2nd floor), January 20, 2010–April 18, 20.

This exhibition is the first ever dedicated to Agnolo Bronzino (1503–1572), and will present nearly all the known drawings by, or attributed to, this leading Italian Mannerist artist, who was active primarily in Florence. A painter, draftsman, academician, and enormously witty poet, Bronzino became famous as the court artist to the Duke Cosimo I de’ Medici and his beautiful wife, the Duchess Eleonora di Toledo. This monographic exhibition will contain approximately 60 drawings from European and North-American collections, many of which have never before been on public view. The exhibition was organized by The Metropolitan Museum of Art, New York, in collaboration with the Gabinetto Disegni e Stampe degli Uffizi and the Polo Museale Fiorentino, Florence.

From 1540 onward, Bronzino was court painter to Cosimo I de’ Medici, Grand Duke of Tuscany, and herein you will see examples of his portraits of Cosimo, his wife, Duchess Eleonora di Toledo, and their children. They demonstrate Bronzino’s sensitivity for elegant composition as well as his acute powers to create mood and capture the psychology of his aristocratic sitters. One of the artist’s most ambitious projects for the princely couple is a fresco cycle for the private Chapel of Eleonora di Toledo, and this exhibition includes drawings he executed for that Chapel in the Palazzo Vecchio, Florence. Also included are sheets that contributed to his designs for a series of tapestries on the Old Testament Story of Joseph, intended for one of the audience halls of the Palazzo Vecchio. Bronzino was among the founders of the Accademia del Disegno in Florence, the first art academy in Europe, and he is said to have had many pupils. The younger generations of Florentine artists particularly admired him for his technical virtuosity as a painter, and even Giorgio Vasari grudgingly praised him for his powers as a disegnatore (designer and draftsman) in his well-known Lives of the Artists.

Accompanied by a catalogue (336 pages, 274 illustrations,155 in full color, $60,00), authored by a team of international scholars, to be published by the Metropolitan Museum: Carmen C. Bambach, Janet Cox-Rearick, and George R. Goldner; with contributions by Philippe Costamagna, Marzia Faietti, and Elizabeth Pilliod. The five essays in this catalogue cover the subject of Bronzino’s draftsmanship through consideration of his life, the critical responses to his drawings from his lifetime to the twentieth century, his theory and practice in drawing, and his portraits. The authors contributed research that adds greatly to our understanding of Bronzino’s place in the history of Florentine drawing. In the sixty-two entries that follow, each individual sheet is analyzed in substantial detail. Every drawing is illustrated in color and is accompanied by comparative photographs. Sixty-two related paintings and tapestries follow the entry section, reproduced as full-page color illustrations that further enhance knowledge of Bronzino’s drawing even as they display his celebrated accomplishments in those mediums. The catalogue is made possible by The Andrew W. Mellon Foundation.

Reviwed by DAVID FRANKLIN, The Burlington Magazine, vol. CLII, number 1286, May 2010, pp. 350-351.

Rome After Raphael: Lectures and Gallery Talks

Lectures, Gallery Talks, Adult Workshops and FilmsThe Morgan Library & Museum (225 Madison Avenue at 36th Street, New York, NY 10016; Tel: (212)685-0008; Fax: (212)481-3484). Please, book your tickets.

PROGRAM:

Thursday, January 28, 2010, 12:30 p.m. – Lecture: AIMEE NG (Department of Drawings and Prints, The Morgan Library & Museum), Disaster to Delight: The Reinvention of Renaissance Rome (admission free).
After the death of Raphael, Rome enjoyed only seven more years of indulgence – artistic and otherwise – before imperial forces sacked the city in 1527. In an illustrated lecture, Aimee Ng traces the story of Rome through its works of art, from the disastrous consequences of the Sack to the reestablishment of the city as the unrivaled center of the artistic world by the end of the century. This lecture coincides with the exhibition Rome After Raphael.

Friday, March 26, 2010, 6:30–8:30 p.m. – Adult Workshop: WALTER O’NEILL, Al Fresco: A Hands-on Primer in Fresco Painting
Artist and educator Walter O’Neill, known as a modern master of fresco, will conduct a hands-on workshop in which participants will collaborate in creating a small fresco using the material and methods that artists have employed from Roman antiquity to the Renaissance. Participants will take turns in processing pure Italian pigments imported from Florence and applying them to a traditional layer of lime. This workshop coincides with the exhibition Rome After Raphael.

Friday, March 26, 2010, 7 p.m. and Saturday, April 24, 2010, 3 p.m. – Gallery Talks: EVELINE BASEGGIO (Department of Drawings and Prints, The Morgan Library & Museum), Renaissance Drawings in Papal Rome
All gallery talks and tours are free with museum admission; no tickets or reservations are necessary. They usually last one hour and meet at the Benefactor’s Wall across from the coat check area.

Friday, April 09, 2010, 7 p.m. – Film: Prince of Foxes (1949, 107 minutes), Director: Henry King
Based on the Samuel Shellabarger novel of the same title, this classic film stars Orson Welles as Cesare Borgia, the corrupt and power-hungry duke, who, with his sister, plots to expand his sphere of influence in Renaissance Italy. Borgia’s scheme is complicated when his servant Andrea Zoppo (Tyrone Power), masquerading as a member of the noble Orsini family, ingratiates himself with the Count of Citta del Monte and falls in love with his wife (Wanda Hendrix). This screening coincides with the exhibition Rome After Raphael.

The ‘Farnese Hours’ on View at The Morgan

EXHIBITION – Rome After Raphael - The Morgan Library & Museum (225 Madison Avenue at 36th Street, New York, NY 10016; Tel: (212)685-0008; Fax: (212)481-3484), January 22 through May 9, 2010.

Featuring more than eighty works drawn almost exclusively from the Morgan’s exceptional collection of Italian drawings, Rome After Raphael illuminates artistic production in Rome from the Renaissance to the beginning of the Baroque-from approximately 1500 to 1600. The exhibition, the first in New York to focus solely on Roman Renaissance and Mannerist drawings, takes Raphael’s art as its starting point and ends with the dawn of a new era, as seen in the innovations of Annibale Carracci.

The show includes striking examples by great masters of the period, including Raphael, Michelangelo, and Parmigianino, among others. Also on exhibit are Giulio Clovio’s sumptuous Farnese hours, the Codex Mellon – an architectural treatise on important Roman sites and projects, including Raphael’s design for St. Peter’s – and a magnificent gilt binding. Having recently undergone a thorough investigation of its technique and media, the Morgan’s Raphael school painting, The Holy Family, will be on view as well.

Numerous drawings in the exhibition are related to Roman projects and commissions, including elaborate schemes for fresco decorations of city palaces and rural villas, funerary chapels and altarpieces, and tapestry designs and views of newly discovered antiquities. The exhibition opens a window on the past to afford us a glimpse of the artistic sensibility and lavish patronage of the period. Rome After Raphael is made possible by Christopher Scholz and Inés Elskop, in honor of Helen and Janos Scholz.

See online exhibition

The Hours of Catherine of Cleves

EXHIBITION: Demons and Devotion: The Hours of Catherine of Cleves – The Morgan Library & Museum (225 Madison Avenue at 36th Street, New York, NY 10016; Tel: (212)685-0008; Fax: (212)481-3484), January 22 through May 2, 2010.

The Hours of Catherine of Cleves is the most important and lavish of all Dutch manuscripts as well as one of the most beautiful among the Morgan’s collection. Commissioned by Catherine of Cleves around 1440 and illustrated by an artist known as the Master of Catherine of Cleves, the work is an illustrated prayer book containing devotions that Catherine would recite throughout the day. The manuscript’s two volumes have been disbound for the exhibition, which features nearly a hundred miniatures (see digital facsimile).

The manuscript is as rich in pictures as it is in prayers: it contains 157 (originally 168) miniatures that reveal colorful landscapes and detailed domestic interiors. In The Holy Family at Work, for example, Joseph planes a board and the Virgin Mary weaves while the infant Jesus takes his first steps in a walker. Throughout the miniatures are meticulously depicted buildings, textiles, furniture, jewelry, and even fish—painted over silver foil. Many miniatures comprise long elaborate cycles of iconographic and theological complexity. One such cycle includes eight miniatures detailing the legend of the True Cross.

Demons and Devotion includes manuscripts illuminated by both predecessors and contemporaries of the Master of Catherine of Cleves, who is considered the finest as well as the most original illuminator of the northern Netherlands. This exhibition is underwritten by a major grant from the B. H. Breslauer Foundation. Additional support is generously provided by Mrs. Alexandre P. Rosenberg.

See online exhibition.

Drawings in the Middle Ages

JONATHAN J. G. ALEXANDER, ‘Drawings in the Middle Ages’, The Burlington Magazine, vol. CLI, n. 1278, September 2009, pp. 641-643.

Review of the exhibition and catalogue Pen and Parchment: Drawing in the Middle Ages, the Metropolitan Museum of Art, New York.

The exhibition was both innovatory and a triumph of curatorship. Though this is not quite the first time a show has concentrated on drawings in medieval manuscripts, it is sufficiently unusual that most visitors will never have seen these objets together or anything similar before. That the exhibition here under review took place in a museum and not in a library also shifted the emphasis from text to image, literary to aesthetic importance.

Melanie Holcomb and her collaborators deserve praise, therefore, not only for the intelligence evident in the selection of the manuscripts, but also for convincing libraries and other owners of the value of the project, and for persuading them to lend to it. This was not one of the Metropolitan’s blockbusters, but that too was part of the pleasure. Smaller show can be especially rewarding, and in this context the small size of the objects themselves was an essential aspect of their aesthetic value.

Pages of Gold from the Morgan Library

The exhibition Pages of Gold: Medieval Illuminations from the Morgan was held at The Morgan Library & Museum (225 Madison Avenue at 36th Street, New York, NY 10016, ph. (212) 685-0008) from June 19 to September 13, 2009.

This exhibition comprised nearly sixty lavish single leaves, dating from the twelfth to the sixteenth centuries. Pierpont Morgan, the preeminent collector of complete medieval and Renaissance manuscripts, also acquired single pages as did many collectors who developed an appreciation for these orphaned leaves during the nineteenth century. Leaves acquired over the last hundred years, including those of Italian, English, French, Flemish, German, Hungarian, and Spanish origin, have been shown. A dozen of these leaves were on view for the first time. Works on view included leaves from a book made for Hungarian nobility, cuttings of initials and leaves from choir books illuminated by Silvestro dei Gherarducci, and works of the Spanish Forger, a twentieth-century medieval painter who successfully forged numerous medieval manuscripts and leaves. The centerpiece of the exhibition was the finest leaf from the celebrated Winchester Bible, arguably the most lavish English Bible of its time. Made in Winchester during the last quarter of the twelfth century, it contains vivid scenes from the lives of Samuel and David and was the last leaf acquired by Pierpont Morgan before his death in 1913.

Read more about the exhibition.

Scripture for the Eyes

The exhibition Scripture for the Eyes: Bible Illustration in Netherlandish Prints of the Sixteenth Century was held at the Museum of Biblical Art (1865 Broadway at 61st Street, New York, NY 10023-7505) from June 5 to September 27, 2009.

Scripture for the Eyes was the first major exhibition to explore the central role played by printed illustrations of subjects from both the Old and New Testaments in one of the most dramatic artistic and religious transformations in European history. Prints are often viewed as merely mimicking or following artistic developments in the more prestigious medium of painting, and, more generally, the visual arts are seen as mirroring societal change. Through approximately 80 engravings, woodcuts, and illustrated Bibles and books by Lucas van Leyden, Maarten van Heemskerck, Philips Galle, Hendrick Goltzius, Hieronymus Wierix, and others, these views were challenged and the biblical prints were shown to have been a dynamic force both in the transformation of Northern European art between Albrecht Dürer and Rembrandt van Rijn and in the intensified attention to Scripture in the religious turmoil of the Reformation and Counter-Reformation.

The exhibition, to be accompanied by a fully-illustrated catalogue, has been organized according to the diverse functions of the prints rather than according to a chronology of their production or a biblical narrati- ve. Curator: James Clifton, Director, the Sarah Campbell Blaffer Foundation and Walter Melion, Asa Griggs Candler Professor of Art History, Emory University.

For further detalis view the site of the MOBIA

Choir of Angels in New York

The exhibition Choirs of Angels: Painting in Italian Choir Books, 1300–1500 was held, from November 25, 2008 to April 12, 2009, at the Metropolitan Museum (Medieval Sculpture Hall).

More than two dozen leaves of the most splendid examples from the Museum’s little-known collection of choral manuscript illuminations were exhibited, coinciding with the publication of a Museum Bulletin devoted to the subject. With jewel-like color and gold, these precious images included scenes of singing angels, Hebrew prophets, heroic saints, and Renaissance princes—spring from the unique, artful marriage of painting, text, and music. The Museum’s collection included works created for churches across Italy, from Florence to Venice, from Cremona to Naples, by some of the most celebrated painters of their day.

Museum curators, conservators, educators, independent scholars, and advanced students of art history have regularly presented Gallery Talks that focused on specific aspects of the collection, as well as on special exhibitions.

For further information vist the Met special exhibitions’ site.