This Section covers institutions, such as the National Gallery & the Royal Academy in Britain, which although they are self-governing are intimately connected by history &/or financial support to the State. The Section also includes other bodies which though not state funded are, like the National Gallery of Art in Washington, a flag carrier for the nation. What it does not include are institutions, however old & prestigious, that are simply exhibition societies for artists. These are to be found in Section 8 which is devoted to painting schools & grouping: the building blocks for the artistic Movements that are distinguished & discussed in Section 9.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ACADEMIE CARRIERE:
This was opened in 1890 by Eugene Carriere. There was no regular teaching though Carriere visited once a week OxDicMod p8
ACADEMIE JULIAN:
In 1873 Rodolphe Julian, a minor genre & portrait painter, opened a painting school in Paris, which later had numerous branches, including four for women. These were charged a double rate. By the 1880s students numbered about 600. The academies were open from 8 am to nightfall & there were no entrance requirements. There was little formal teaching & Julian’s became famous for the unruly student behaviour. Models were hired & once a week an established artist such as Bougereau would appraise students’ work. The academies were particularly popular with foreign students who were unable to pass the French language examination for the Ecole des Beaux-Arts Norman1977, OxDicMod p8.
Students: Benson; Breck; Corinth; Curran; Denis; Matisse; Tanner; Vallotton; Vuillard; Zuloaga Norman1977, OxDicMod, NGArtinP pp 30, 259
ACADEMIE RANSON:
This was founded in 1908 by Paul Ranson. After his death in 1909 his wife took over & his friends Denis & Serusier were among the teachers. During the 1930s a later teacher, Roger Bissiere, steered his pupils towards expressive abstraction. The Academie remained popular until after the Second World War OxDicMod pp 8-9
ACCADEMIA, Venice:
Masterpieces include:
Bellini, Giovanni S. Giobbe Altarpiece
Madonna degli Alberetti
Bordone Presentation of the Ring to the Doge
Carpaccio Scenes from the Life of St Ursula
Giordano Deposition
Giorgione Tempesta; La Vecchia
Liss The Mourning Over the Dead Abel
Lotto Portrait of a Young Man in His Study
Longhi The Dancing Master
Ricci, Sebastiano Moses Striking the Rock
Tiepolo Rape of Europa
Tintoretto Miracle of St Mark Freeing the Slave; Crucifixion; Pieta
Titian etc Pieta
Veneziano, Paolo Coronation of the Virgin
Veronese Mystical Marriage of St Catherine; Feast in the House of Levi
ART STUDENTS LEAGUE:
This is an art school in New York that opened in 1875. There were no entrance requirements, its teaching methods were up-to-date & by 1900 it was the most important art school in the country. Its teachers included Chase (from 1878), Beckwith, Dewing, Eakins, Henri, Sloan & Saint-Gaudens OxDicMod, Burns p28
ART UNIONS:
These were associations for the purchase of art. They were financed by subscription &, once an art work had been bought it was handed over to the member who won in a lottery. Losers were consoled with engravings of the prizes. Such unions, or Kunstvereine, were rapidly set up in every major German city during the 1820s & were imitated in Victorian England. In Germany pictures were chosen by the governing committee whereas in England the winners decided. The unions were a striking development in bourgeois patronage & the work bought from contemporary German artists was more adventurous than the commissions provided by court patronage Vaughan1980 pp18-21. Art unions were also established in America, the most important being the American Art-Union which stared in 1839. However, in 1852, after a campaign by the New York Herald, the courts decided they were illegal gambling Groseclose p11.
BATH ACADEMY OF ART:
This was established in 1946 by Paul Ayshford (Lord Methuen) at his home, Corsham Court. It incorporated an earlier school that dated from 1832. The school attracted distinguished teachers including William Scott, Gillian Ayres & Howard Hodgkin. The Academy quickly became a centre for a Modernism influenced by advanced French artists like Dubuffet OxDicMod
BAUHAUS:
Nature: This was the most famous art school of the 20th century. It played a key part in establishing a new relationship between design & industrial techniques, undermining the old distinction between fine & applied arts OxDicMod.
History: It was founded in 1919 by Walter Gropius when he combined two art schools in Weimar of which he had been appointed head. His aims were to facilitate co-operative projects between painters, sculptors & craftsmen, to raise the status of the crafts to that of fine art, & to link leading craftsman with industry. After a preliminary course students moved to various workshops run jointly by a craftsman who taught method & technique, & an artist who would promote creativity. In practice the artists, who included Kandinsky, Klee & Feininger were more important OxDicMod. There was a conflict between Gropius & Johannes Itten which ended with the latter’s resignation in 1923. His replacement by Moholy-Nagy signalled the rejection of an Expressionist & a craft outlook in favour of industrial design, mass production & functionalism. Gropius said that technology does not need art, art needs technology TurnerEtoPM pp 65, 67, 112-3.
In 1924 right wingers gained power & cut funding. The Bauhaus moved to Dessau in 1925. The dual craft cum artist system of teaching & replayed by those who taught both theory & practice OxDicMod. In 1927 Hans Meyer, who was a rigid Constructivist became the director. He believed that form was the product of mathematics without the involvement of any aesthetic factor TurnerEtoPM p6. Meyer, who became professor of the new department of architecture, changed the whole tone of the school. He was a Marxist. Politics now occupied an important place in the curriculum & the workshops were encouraged to produce mass produced & not luxury goods. Moholy-Nagy resigned & most of the staff became disaffected OxDicMod.
In 1930 Meyer was forced to resign & the architect Mies van der Rohe (1886-1969) became director. He tried to make the school apolitical &, after a near riot by left-wing students, prohibiteed all political activity. To no avail: the Dessau parliament banned the school. It moved to Berlin but was banned by the Nazis in 1933 OxDicMod.
Impact: The Bauhaus had a major effect in the fields of architecture & design. However, in painting together with graphic art & sculpture, it played a marginal part. Although the member artists contributed lecture courses on art theory, art instruction was occasional & sometimes private L&L. One feature was the absence of erotic art in this male-dominate institution WoodG p92
BELVEDERE, Vienna:
This comprises the Upper Belvidere, which was originally the palace of Prince Eugen, & the Lower Belvedere. The old palace housed Eugene’s collection & from 1781, when it was opened to the public, a large part of the Imperial collection. The Lower Belvedere was opened in 1903
CASTLE HOWARD:
Notable pictures include:
Costa
Women Stealing Wood on the Shore Near Ardia on the Evening when the Libeccio Blows
The Fariglioni Rocks – An October Morning
Evening at Amara Lunga, Lerici
A Morning at Botri Lereici – Italian Girls Picking Flowers
Frate Francesco e Frate Sole
John Lateran, Rome, from Villa Mattei or Spring on the Coelian Hill
Twixt Summer & Autumn
Bocca d’Arno – An Italian Peasant Girl on the Shore of the Mediterranean
Gainsborough Girl with Pigs
Holbein Henry VIII
Howard
Third Duke of Norfolk
Costa Painting in the Landscape at Naworth
Girls Picking Flowers in the Borghese Gardens
A View within the Baths at Caracalla, Rome
View on the Tiber Rome…
View on the Rio di S. Barnaba, Venice…
Gimignano
Panini The Baths of Caracalla, Rome
Rubens Salome
DUDLEY GALLERY:
It opened in 1863 for those who had been rejected at major venues & was adventurous in selecting paintings Trippi pp 23, 25
DURAND-RUEL:
This was a family of French picture dealers. It began with Jean-Marie-Fortune, 1800-65, who began as a stationer but moved via the sale of artists’ materials & friendship with their purchasers, into picture dealing with mixed success Grove9 p423.
The best known member of the family was Paul, 1831-1922, who took over in 1865 & became the main dealer of the Barbizon School painters, though he also bought from other artists who attracted his attention, including Couture, Bougereau & Cabanal. Daubigny introduced him to Monet & Pissaro when they were all in England due to the Franco-Prussian War. Paul became the solitary champion of the Impressionists & Manet, often coming near bankruptcy OxDicArt, Grove9 p424.
However in 1886 he had a successful exhibition of their work in New York, at the invitation & expense of the American Art Association. A branch was soon opened in New York, & this led to the firm’s eventual financial success & had a major role in building some of the great American Impressionist collections. Durand-Ruel also dealt in Old Masters & was one of the first dealers to handle El Greco. After 1888 he increasingly left the running of the business to his sons Joseph & Charles, though he did not retire until 1911. They held exhibitions for Redon (1894), Bonnard (1896) & Gauguin (1903) OxDicArt, Grove9 pp 424-5.
The New York branch continued until 1950 & that in Paris till 1974 Grove9 p425.
ECOLE DES BEAUX-ARTS:
This was founded in 1648 in the same year as the Academy. After its partial suppression in 1793 it was re-established in 1795. From 1819 Academicians had authority over the Ecole & decided the winners of the Rome prize. There was daily instruction in life drawing & special courses in anatomy, perspective & history, but painting was not taught. In 1863 the administration of the Ecole was transferred to a new Conseil Superieur, an atelier system was introduced, & painting was added to the curriculum Norman1977 p87.
ESCORIAL:
This is the great & austere palace & monastery built by Philip II. It was begun in 1584 & finished in 1584 by Herrera the Elder. The decoration & altarpieces were executed by Zuccaro, Navarette & Sanchez Coello. A school of painting was thereby established at which Ribalta etc were trained. Further decoration took place from 1688 to 1819 by Claudio Coello, Luca Giordano & Mariano de Maella. The Escorial contains outstanding works by Durer, Bosch, Titian, El Greco, Ribera & Velazquez, together with tapestries designed by Goya OxDicArt
GALLERIES:
Here are the top 41 by & with the number of paintings listed in 1001 Paintings You Must See Before You Die (1001):
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-
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- National Gallery, London=57
- Museum of Modern Art=39
- Louvre=30
- Tate=29
- Uffizi=28
- Hamburger Kunsthalle=22
- Musee d’Orsay=22;
- Prado=21
- Musee National d’Art Moderne=16
- Nationalmuseum=14
- Victoria & Albert=14
- Metropolitan Museum=11
- Ashmolean=10
- Philadelphia Museum of Art=10
- DIA=9
- Kunsthistorisches=8
- Scottish National Portrait=8
- Art Institute=7
- Albright-Knox=7;
- Belvedere=7
- Brooklyn Museum of Art=7
- Thysen-Bornemisza=7
- 23 Vatican=7
- Accademia=6;
- Brera=6;
- Hermitage=6
- Alte Pinakothek, Munich=6
- NG Art=6:
- Saatchi=6
- Birmingham Museum & Art Gallery=5
- Guggenheim=5
- National Gallery of Australia=5
- National Gallery of Scotland=5
- Walker Art Gallery= 5
- Boston Museum of Fine Arts= 4
- Courtaluld=4
- Mauritshuis=4
- Manchester Art Gallery=4
- National Gallery of Victoria=4
- Staatliche zu Berlin=4
- Wallace Collection=4
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-
The following important galleries have been added to bring the total to 50:
-
-
-
- Tretyakov Gallery
- Pitti Palace
- Frick Collection
- Getty Museum
- National Gallery of Ireland
- Gemaldergalerie
- Alte Nationalgalerie
- Neue Nationalgalerie
- Kenwood House
-
-
Milestones: 1737 last Medici agreed with her successor that her art treasures would forever remain in Tuscany as state property Tietze p6
Holdings: Only a fraction of works are on display at most galleries, eg 20% of paintings (not works) at the Tate GrosvenorFT 1/11/2014
My Favourites in the Top 50: Kuntshistorisch, Art Institute, Frick, Kenwood House
My Favourites, Other Galleries: Lady Lever Art Gallery, Port Sunlight; The Barber Institute
Those not favoured: The Tate Modern which, apart from the Rothcco room, has very few paintings; Museo Picasso, Malaga; Matisse, Nice
GAMBART, Ernest, 1804-1902, British:
Career: He was born in Courtrai in Belgium & began in his father’s printing, binding & bookselling business. From about 1833 he was established in Paris with his own printing & paper-making firm. In 1830 he arrived in England & worked for Goupil’s. By 1842 he was in a partnership importing prints from the Continent & in 1844 set up as print publisher, importer & exporter. In 1846 he was naturalised. Within three years he gave his first exhibition & they became annual, alternating with shows by British & by French & Dutch artists. Gambart retired in 1870. His business affairs were conducted with integrity, firmness & flair. He was friends with Bonheur, Alma-Tadema, Ruskin, & new middle class patrons, of whom Joseph Gillott was the most famous. He made business arrangements with Linnell, Turner, David Roberts, Landseer, Goodall, Millais, Rossetti, Holman Hunt, Ford Madox Brown, Frith etc Grove12 p30
Influence: His exhibitions became the model for other dealers Grove12 p30
GERMAN ARTISTS’ LEAGUE/Deutscher Kunstlerbund:
This was founded in 1903 by Count Harry Kessler with the help of Corinth, Klinger, Liebermann, Ludwig Von Hofmann etc. It was primarily a progressive exhibition society, it had its first show in 1905. It was closed in 1936 but was re-established by former members in 1950 RA1900 p391,Wikip
GUGGENHEIM:
The museums have been established & are run by the Solomon R. Guggenheim Foundation. They comprise the original Solomon R. Guggenheim Museum in New York, which was opened in 1939, the Peggy Guggenheim Collection in Venice, the Guggenheim Hermitage Museum in Las Vegas, the Guggenheim Guadalajara in a Mexican town of that name, the Deutche Guggenheim in Berlin, & the Guggenheim Abu Dhabi Web.
GUILD OF BOSTON ARTISTS:
This is a non-profit exhibiting society that was founded in 1914 by artists working in a traditional realist style. The founding members included Benson, Paxton & Tarbell, who became the first President. It holds exhibitions several times a year as well as one-man shows at its gallery 162 Mulberry Street. [The work of its members shows it to be the American counterpart of the New English Art Club.] Website, Wikip
HAMBURGER KUNSTHALLE:
De Witte Interior of a Church , c1680 1001
Runge The Hulsenbeck Children, c1806 1001
Morning, 1808
Friedrich Tombs of Ancient Heroes, 1812
Overbeck Adoration of the Kings, 1813 1001
Friedrich Wanderer Above the Sea of Fog, c18181001
Arctic Shipwreck, 1823-4
Hill & Ploughed Field near Dresden, 1824
Walesdmuller Old Elms in Prater,1831 1001
Jensen Flowers, 1835 1001
Alt Side Portal of Como Cathedral , 1850 1001
Daumier The Rescue, 1870 1001
Leibl Three Women in Church, 1882 Weisberg1992
Uhde The Arrival of the Organ Grinder, 1883 Weisberg1992
Modersohn-Becker The Old Farmer, 1903 1001
Corinth Charlotte Corinth at Her Dressing Table, 1911 1001
Heckel Two Men at a Table, 1912 Dube
Redon The Cyclops, c1914 1001
Corinth Self Portrait in Armour, 1914 1001
Slevogt Tiger in the Jungle, 1917 1001
Kokoschka Neustadt, Dresden, 1922 Dube
Kirchner Self Portrait with a Model, 1910-26 1001
Helion Balance, 1933 1001
Radziwill The Lilenstrein on the Elbe, c1939 1001
Emil Schumacher, Cadmium,1958 1001
Dubuffet The King of the Heart, 1964 1001
Lupertz Cluster of Grapes, 1971 1001
Sam Francis East VIII (Towards Disappearance) SFP71-14, 1971 1001
Heisig The Paris Commune, 1979 1001
Immendorff World at Work, 1984 1001
HUIS TEN BOSCH:
After the death of her husband Frederick Hendrick, the Prince of Orange & stadholder, Amalia van Solm created the Oranjezaal (Hall of Orange) as a memorial. It contains wall paintings on canvas & decorations onto the wooden dome produced between 1548 & 1562. They glorify Frederick Hendrick who is presented in complex allegories as both a contemporary general & a classical hero. The paintings form part of a complex artistic scheme & the artists received detailed instructions about the composition & execution of their works. The artists included Thomas Willeboirts Bosschaert, Solomon de Bray, Jacob van Campen, Gonzales Coques, Caesar van Everdingen, Pieter de Grebber, Gerrit van Honthorst, Jacob Jordaens, & Jan Lievens. Not all of the paintings were first rate but the overall effect is harmonious & impressive, constituting the grandest decorative scheme of the 18th century Haak p44, MB p26, Grove14 p584. Huis Ten Bosch is a royal palace & not open to the public.
INSTITUTE OF CONTEMPORARY ARTS:
This is a London cultural centre which was founded in 1947 by Penrose and Herbert Read OxDicArt. It organized exhibitions, lectures, films, concerts etc. In the 1950s it was the cradle of British Pop art & in 1969 it held the first exhibition of Conceptual Art in Britain OxDicMod
KUNTSHISTORISCHES, Vienna:
Masterpieces Include:
Bruegel the Elder Children’s Games Tietze;
Hunters in the Snow 1001;
Peasant Wedding 1001;
Return of the Herd;
Tower of Babel Tietze
Caravaggio Madonna of the Rosaries Tietze
Corregio Jupiter & Io 1001
Cranach the Elder Stag Hunt of Elector Frederic the Wise Tietze
Durer Adoration of the Trinity
Emperor Maximilian I Tietze
Giorgione Three Philosophers Tietze
Guercino Return of the Prodigal Son 1001
Holbein the Younger Portrait of Jane Seymour Tietze
Laib Crucifixion Tietze
Lotto Virgin & Child with SS Catherine & James the Great Tietze
Maler Portrait of a Beardless Man 1001
Moretto Allexandro Tietze
Raphael Madonna of the Meadow Tietze
Rubens Helene Fourment in a Fur Wrap 1001;
Ildefonso Altarpiece
Ignatius Loyola Driving out the Devil Tietze
Tintoretto Susanna & the Elders Tietze
Titian Ecce Homo; Nymph & Shepherd; & Portrait of Jacopo de Strada Tietze
Van Dyck Portrait of an Officer Tietze
Van Eyck Portrait of Cardinal Nicolas Albergati Tietze
Van Wittel Island in the Tiber 1001
Velazquez Portrait of Infanta Margarita Teresa; &
Portrait of Infante Baltasar Carlos Tietze
Vermeer Artist’s Studio 1001
LIBRARY OF CONGRESS:
This contains 112 murals dating from around 1897 SCR p58
LOUVRE:
History: In 1847 Saint-Yenne called for the royal art treasures to be put on public display at the Louvre. A selection was put on display at the Luxembourg until 1779 when the palace was wanted for other purposes. It was not until 1794 that the Louvre was opened as a public museum, although d’Angiviller had planned such a move before the Revolution Tietze pp 40-41.
Masterpieces:
Boucher Diana after her Bath
Brouwer Smoker
Chardin Saying Grace
David Oath of the Horatii
Madame Recamier
Napoleon Crossing the Alps
Three Ladies of Ghent
Delacroix Massacre of Scios
Delacroix Death of Sardanapalus
Van Dyck Charles I
Van Eyck Virgin and Child;
Fouquet Charles VII
Fragonard Music Lesson
Gericault Raft of the Medusa
Giorgione Concert Champetre
Hals Gipsy Girl
Holbein Erasmus
Ingres Turkish Bath
Bather of Valpincon
Malouel Martyrdom of S. Denis
Mantegna The Parnassus
Metys Banker and Wife
Poussin Deluge
Raphael Balthasar Castletiglione
Rembrandt Self-Portrait
Bathsheba
Rubens Henry IV
Flemish Kermesse
Titian Francis I
Watteau Embarkation for Cythera
Actor Giles
School of Avignon Pieta Tietze pp 50-5, 1001
Whistler Arrangement in Grey & Black No 1 (the Artist’s Mother) Hughes 1997
METROPOLITAN MUSEUM OF ART, New York (the Met)
Bierstadt The Rocky Mountains
Lander’s Peak, 1863 Hughes1997
Bingham Fur Traders Descending the Missouri 1001, Hughes1997
Bonheur Horse Fair 1001
Bosch Jerome Adoration of the Magi Tietz
Bruce Still-life Hughes 1997
Carpaccio Meditation of the Passion Tietz
Cassatt Lady at the Tea Table 1001
de la Tour Fortune Teller 1001
Chase James Abbott McNeill Whistler, 1885 Hughes1997
Shinnecock Hills, c1895 Hughes1997
Charpentier Portrait of Mademoiselle du Val d’Ognes 1001
Church Heart of the Andes, 1859 Hughes1997, Bjelajac
Cole View from Mount Holyoke, Northampton, Mas, after a Thunderstorm,
1836 Hughes1997
Copley Portrait of Joseph Sherburne Tietz
Cranach, The Elder Judgement of Paris 1001
Daumier In the Third Class Tietz
Davies Unicorns (Legend-Sea Calm) Hughes1997
Demuth The Figure 5 in Gold,1928 Hughes1997
Dove Portrait of Ralph Duesenberry, 1924 Hughes1997
Eakins Max Schmitt in a Single Scull, 1871 1001, Hughes1997
Fragonard Billet-doux Tietz
Goya Women on a Balcony Tietz
El Greco Portrait of the Grand-Inquisitor Fernando de Guevara
View of Toledo Tietz
Girlandaio Francesco Sassetti & His Son Teodoro 1001
Harnett The Artist’s Letter Rack, 1879 Hughes1997
Heade Approaching Thunder Storm, 1859 Hughes1997
Homer TheVetran in a New Field Hughes1997, Bjelajac
Privateers From the Front, 1866 Hughes1997
Snap the Whip, 1872 Hughes1997
The Carnival, 1877 Hughes1997
The Gulf Stream, 1899 Hughes1997
Kelly Blue, Green, Red, 1962-3 Hughes1997
Kensett Eaton’s Long Neck, 1872 Hughes1997
Leutze Washington Crossing the Delaware 1001
Manet Woman with a Parrot Tietz
O’Keeffe Black Iris III, 1926 Hughes1997
Pratt The American School, 1765 Hughes1997
Reinhardt Red Painting, 1952 Hughes1997
Rembrandt Man with magnifying Glass Tietz
Ryder Moonlight Marine, c1880 Hughes1997
Sargent Madame X 1001, Hughes, Bjelajac
Sassetta Procession of the Magi Tietz
Twachtman Arques-Bataille, 1885 Bjelajac
Weir The Red Bridge, 1895 Hughes1997
Zorn Mrs Walter Rathbone Bacon 1001
MUNICH SECESSION & KUNSTLERGENOOSENSHAFT:
The Munchner Kunstlergenoosenshaft was the largest social & professional society for artists in Bavaria. The juries in 1889 & 1891 mounted exhibitions biased towards Naturalism, Impressionism & Symbolism. The majority then forbade favoritism by future juries. Over 100 of the most progressive artists then set up their own exhibition society. They included Slevogt, von Stuck, Trubner & Uhde. Due to its important backing the new society was able to construct an exhibition gallery in a prestigious location. Once it became clear that the secession would be successful the Prince Regent & other officials gave their backing. Although the society said that works would be judged according to merit its early shows were dominated by Naturalistic & Impressionistic painting. Most exhibitors avoided modern life & urban subjects & preferred work of a lyrical & evocative type. The most expressive artists such as Gauguin, Munch & Ensor did not exhibit unlike Liebermann, Khnopff & Carriere. Meanwhile the Kunstlergenossenschaft displayed both academic & avant-garde work TurnerEtoPM pp 344-5.
MUSEUM OF ART, PHILADELPHIA (Not to be confused with Pennsylvania Academy of Fine Arts):
Bordone S. Jerome in a Landscape, early 1520s
Eakins Sailboats Racing on the Delaware, 1874 Hughes1997
William Rush Carving his allegorical Figure of the Skuylkill River, 1876-7
Glackens Skating Rink New York City G49
Homer The Life Line, 1884 Hughes1997
Peale Portrait of John & Elizabeth Cadwalader & Their Daughter Anne, 1772 Hughes1997
The Staircase Group, 1795 Hughes1997
Renoir The Large Bathers, 1884-7 G162
Two Girls, c1892
Peaches, 1895 G162
Large Bathers, 1905 G162
Woman with a Guitar, c1918
Still Life with Flowers & Fruit G161
Romney The Shepherd Girl, c1778 1001
Sloan Sixth Avenue & 13th St, 1907 Corbett
Three A.M, 1909
Steen Moses Striking the Rock, c1671
Turner The Burning of the Houses of Lords & Commons, 1835 1001,
R&J
Cezanne Mont Sainte-Victoire, 1902-4 1001
Duchamp Nude Descending a Staircase No 2, 1912 1001, Hughes1997
Dali Soft Construction with Boiled Beans (1936) 1001
Diebenkorn Ocean Park No 79, 1975 1001
Katz Western Interior, 1979 1001
Kiefer Nigredo, 1984 1001
Cucchi Entry into Port of a Ship with a Red Rose Aboard, 1985-6 1001
Rauschenberg Estate, 1963 Hughes1997
MUSEUM OF FINE ARTS, BOSTON:
Bunker The Pool, Medfield, 1889 NGArtinP
Cassatt Five O’clock Tea, 1880 Hughes1997
Copley Boy with Squirrel, 1765 Hughes1997
Paul Revere, c1769 Hughes1997
Mr & Mrs Ralph Izard, 1775 1001, Hughes1997
Watson & the Shark, 1778 Hughes1997
Lane Boston Harbour, 1855-8 Hughes1997
Luks The Wrestlers, 1905 Hughes1997
Millet The Sower, 1850 1001
Monet Haystack in the Morning Snow Effect, 1891 1001
Neagle Pat Lyon at the Forge, Hughes1997
Peto Old Time Letter Rack, 1894 Hughes
Vuillard Woman Sewing Before a Garden, 1895 1001
MUSEUM OF MODERN ART, New York (MoMA)
Appel Child with Birds 1001
Bacon Painting 1001
Balla Swifts: Paths of Movement + Dynamic Sequences 1001
Balthus Andre Derain 1001
Baselitz Stilleben 1001
Botero Presidential Family1001
Corinth Self-Portrait with Palette 1001
Dali Persistence of Memory 1001
Davis Men Without Women, 1932 Hughes1997
de Chirico Song of Love; Enigma of a Day 1001
de Kooning Woman I, 1950-02 1001, Hughes1997
Pirate (Untitled II), 1981 Hughes1997
Duchamp Two Nudes 1001
El Lissitzky Proun 19D 1001
Gorky Leaf of the Artichoke is an Owl 1001
Guston Painting, 1954 Hughes1997
Hartley Portrait of a Germany Officer,1914 Hughes1997
Hodgkin Red Burmudas 1001
Hopper Gas 1001
House by the Railroad 1001
Johns Flag (1954-55) 1001, Hughes1997
Target with Four Faces, 1955 Hughes1997
Kelly Blue, Red, Green, 1962-3 Hughes1997
Kline, Franz Le Gros 1001
Chief 1001
Lawrence The Migration Series, Panel No 10: “They were Very Poor”, 1940-1 Hughes1997
Louis , Morris Russet 1001
Magritte Empire of Light II 1001
Malevich Suprematist Painting 1001
Matisse Dance 1 1001
Red Studio 1001
Piano Lesson 1001
Moholy-Nagy Black Quarter with Red Stripes 1001
Morandi Still Life 1001
Motherwell Elegy to the Spanish Republic LXX, c1961
Hughes1997
Elegy to the Spanish Republic, 108 1001
Nadelman Woman at the Piano, c1917 Hughes1997
Newman Onement I, 1948 Hughes1997
Virgin Heroicus Sublimis 1001
Picasso Les Demoiselles d’Avignon 1001
Pollock Parsiphae, 1943 Hughes1997
Autumn Rhythm, 1950 Hughes1997
One: Number 31 1001
Riley Fission 1001
Rivers Washington Crossing the Delaware, 1953 1001, Hughes1997
Rousseau Sleeping Gypsy1001
Roualt Three Judges 1001
Sheeler American Landscape, 1930 Hughes1987
Twombly Leda and the Swan 1001
Van Doesberg Composition VIII (The Cow) 1001
Von Jawlensky Head 1001
Warhol Gold Marilyn Monroe, 1962 Hughes1997
Welliver Shadow, 1977 Hughes1997
Wyeth Christina’s World, 1948 1001, Hughes1997
NAIVE:
The following galleries. Etc, specialise in Naive & related Art:
Croatian Museum of Naive Art, Zagreb
Musee International d’Art naif Anatole Jakovsky, Nice
International Museum of Naive Art, Vicq, France
Musee d’Art Naif – Max Fourny, Paris
Museum of Bad Art, Boston
National Folk Decorative Art Museum, Kyiv
Zander Collection, Cologne
NATIONAL ACADEMY OF DESIGN & the SOCIETY OF AMERICAN ARTISTS:
It was formed by New York artists in 1826 to enhance the status of & professionalism of American painting; & in reaction against the conservative American Academy of Fine Arts (1801-40), which promoted European values. The Academy was national in name only but it certainly promoted the work of New York artists by featuring the work of Cole, Durand & Mount Groseclose p11, Hughes1997 p218, L&L. The National Academy came under increasing criticism for illusionistic detail, & in 1878 the rival Society of American Artists was founded to promote art devoted to the expression of inner feelings. Its members were mostly from upper class New York & Massachusetts families & who had studied abroad. In 1910 the Society was, in turn, rejected by the Ten American Painters group Bjelajac pp 269-70, 281
NATIONAL GALLERY OF ART, Washington (NG Art):
Bellows Both Members of This Club, 1909 Hughes 1997, Corbett2011
Bosch Death & the Miser Walker
Botticelli The Adoration of the Magi Walker
Bruegel, Pieter the Elder The Temptation of St Anthony Walker
Cassatt The Letter, print, c1891 Hughes 1997
The Boating Party, 1893-4 Hughes1997
Cezanne House of Pierre Lacroix, 1873 Walker
Chardin An Attentive Nurse, 1738 Walker
Constable Wivenhoe Park Walker
Corot Agostina, c1866 Walker
Duccio The Calling of the Apostles Peter & Andrew Walker
Durer Portrait of a Clergyman, 1516 Walker
El Greco Christ Cleansing the Temple, c1570
Fra Angelico & Fra Filippo Lippi The Adoration of the Magi Walker
Fragonard A Young Girl Reading, c1776 Walker
Gauguin Fata te Miti, 1892 Walker
Giorgione The Adoration of the Shepherds Walker
Giotto Madonna & Child Walker
Grunewald The Small Crucifixion Walker
Hassam In the Garden (Celia Thaxter in Her Garden), 1892 Hughes1997
Ingres Madame Moitessier, 1851 Walker
Masaccio Profile Portrait of a Young Man Walker
Homer Breezing Up Hughes1997
Moretto Pieta, 1520s Walker
Moroni A Gentleman in Adoration Before the Madonna, c1560 Walker
Murillo A Girl & Her Duenna, c1670 Walker
Peale, Rembrandt Rubens Peale with a Geranium, 1801 Hughes1997
Pollock Number1, 1950 (Lavender Mist), 1950 Hughes1997
Poussin Holy Family on the Steps, c1666-8 Walker
Raeburn Miss Eleanor Urquhart, c1795 Walker
Rembrandt The Mill, c1650 Walker
Joseph Accused by Potiphar’s Wife, 1655 Walker
Sassetta The Meeting of St Anthony & St Paul Walker
Sodoma St George & the Dragon, c1518 Walker
Stuart The Skater, 1782 Hughes1997
Tintoretto Christ at the Sea of Galilee, c1650 Walker
Toulouse-Lautrec Quadrille at the Moulin Rouge, 1892
Velazquez Pope Innocent X, 1649-50 Walker
Vermeer A Woman Weighing Gold, c1657 Walker
Young Girl with a Flute, c1658-60 Walker
Whistler The White Girl, 1862 Hughes1997
PALACE OF WESTMINSTER MURALS:
By 1840 the new building was nearing completion & its decoration was under discussion. In the light of public commissions by Louis-Philippe & Ludwig I, & after a Select Committee had taken evidence & considered the matter, a Royal Commission was established under Prince Albert with Charles Eastlake as secretary. It decided that both Houses should be decorated with frescoes of historical & mythological scenes. Open competitions were held from 1842 & the following murals were completed:
The Baptism of Ethelbert by Dyce, 1842
The Spirit of Chivalry by Maclise, 1847
Five murals in the Royal Robing Room of the House of Lords, illustrating scenes form Tennyson’s Morte d’Arthur, 1847-64, by Dyce
The clear composition & simple action of the latter works by Dyce make them the most successful of the Westminster murals. However, the Westminster project ended badly due to bureaucratic irregularities, uninspired work & above all the blistering, cracking & darkening of the murals & this despite the fact that Cornelius had been consulted about the fresco technique. There was a switch to the waterglass method but the colour faded on Maclise’s Royal Gallery scenes The Meeting of Wellington & Blucher, 1858-61, & Trafalgar: The Death of Nelson, 1863-5, though they are nevertheless the most powerful of the Westminster series. C.W. Cope laboured on in the Peers’ Corridor until 1866 at his scenes from the Civil War but all other commissions were cancelled Treuherz1993 pp 42-4, 46, 49-51
PENNSYLVANIA ACADEMY OF FINE ARTS (not to be confused with the Museum of Fine Arts, Philadelphia):
Masterpieces:
Beaux Les Derniers Jours D’Enfance, 1885 NGArtinP
Country Woman, Concarneau, France 1888
Mother & Daughter, 1898
New England Woman
Gertrude & Elizabeth Henry
Robinson Port Ben, Delaware & Hudson Canal
Sparhawk-Jones Alice Kent Stoddart
POLESDEN LACY, near Dorking:
One of the few National Trust houses where it is possible to view the pictures properly. It contains Carolus-Duran’ striking portrait of Mrs Greville. She was the former owner who insited on user-friendliness
ROLAND, BROWSE & DELBRANCO:
This was a firm of art dealers founded in 1945 with a gallery in Cork Street, London. It was founded by Henry Rowland, Gustav Delbranco (both German-born dealers) & Lilian Browse. It dealt mainly in British figurative painters & helped establish Clough, Dunstan, Eardley & Herman. It was renamed Browse & Derby in 1977 OxDicMod
RUINS of the Ancient World onwards but excluding those resulting from warfare
Ruins may be decayed or vandalised structures, or alternatively they may be deliberately created to give such an impression, the latter meaning being sometimes regarded as the only legitimate use Dic, Grove27 p323. Although artificial ruins date back to the 1530s, they did not become at all popular until the early 18th century but there was then a constant increase until 1800 . After a lull they flourished under growing middle class patronage until perhaps 1860.
Both real & imagined ruins appeal to those who view & create them in various ways. They may be seen as examples of human vanity, or they may be regarded as an indication that the old will give way to something new & positive. Hence the appearance of ruins in the depictions of Christ’s birth that were painted from the 15th century. From the early Renaissance onwards ruins were regarded as evidence of the perfection that had been achieved once & for all in antiquity Grove27 p 324, OxCompArt p1023.
Ruins became frequent from the 17th century particularly in the work of Viviano Codazzi, Claude & Rosa, [& they then became a feature of the] Picturesque. When crumbling & overrun by nature they inspire ideas of transience & mortality. From around 1750 there was a new romantic attitude to ruins which were now seen as eloquent symbols of the battle between man, who is the builder, & depredations of Nature & Time, the destroyers Brigstocke, Grove18 pp 710-11, Newton1962 pp 105-6.
Ghisolfa, 1623-83, was the first Italian artist to specialise in imaginary views of Roman ruins. He inspired Panini ,1691-1765, who, in turn, inspired Piranesi, 1720-78 L&L. However, it was Hubert Robert, 1733-1808, who was the first artist to make ruins the main theme of his pictures OxCompArt p983, OxDicArt
Archibald Alison believed beautiful natural scenery is exalted by events it has witnessed & that scenes carrying memories of ancient virtue & glory have the deepest effect Macmillan1990 p220. Later they came to be regarded as evidence of continuity. As such they had an appeal to viewers, & sometimes painters, who felt threatened by developments that had been or were taking place, or who wished to shore up their position or establish a quasi-aristocratic status. This helps to explain why, after the French Revolution, so many ruins were built & depicted by Caspar David Friedrich, etc Grove27 p 324, OxCompArt p1023, Vaughan2004 Fig 36, 45, 65, 73, 104, 109, 111, 160, etc.
Here the American artist Thomas Cole deserves a special mention. Not only did he produce spectacular depictions of virgin mountain scenery in the Hudson Valley & Roman ruins in Italy but, as he wrote in a memorandum book & letter, planned a series of woks charting the course of human history from barbarism, through civilisation & luxury to destruction. He then produced his Course of Empire paintings which concluded with his ruin work Desolation, 1836 (New-York Historical Society, New York). Already in 1825 he painted a scene in which the virgin forest was being felled Powell pp 17, 62-9
Ruins appear to have ceased to be a popular as subject matter & the work by Albert Jaensch was unusual as he was a German war artist & so is the work by Martin Mooney as it was specially commissioned Y&D, etc
Notable Images:
Mantegna St Sebastian (Louvre & Kunsthistorisches)
Durer Adoration of the Magi, 1504 (Uffizi)
Viviano Codazzi Rome the Campo Vaccino Looking towards the Capitoline, 1630 (Galleria dell ’Accademia di San Luca, Rome)
Carel De Hooch Landscape with Ruins & Duck Hunters, 1630 (Central Museum, Utrecht)
Salvator Rosa Grotto with Cascades, 1639-40 (Palazzo Pitti, Florence)
Luciano Ascanio Capriccio with the vision of St Augustine in a ruined arcade, 1650
Jacob Van Ruisdael Landscape with Ruins of the Castle of Egmond, 1650s (Art Institute, Chicago)
Nicolaes Berchem, c1657 Peasants with Four Oxen & a Goat at a Ford by a Ruined Aqueduct (NG)
Marco & Sebastiano Ricci Landscape with Classical Ruins & Figures, c1727 (J Paul Getty Museum, Los Angeles)
Canaletto View of the Arch of Constantine with the Colosseum, 1742-5 (J. Paul Getty Museum, Los Angeles)
Piranesi Fantastic Ruins D’Armour Museum of Fine Arts, Springfield, Massachusetts
Giovanni Panini Capriccio of Classical Ruins (Private)
Hubert Robert Roman Ruins, c1760 (Worcester Art Museum, Massachusetts)
Thomas Daniell Landscape in Northern India, c1820 (British Library)
Thomas Cole Landscape, 1825, (The Minneapolis Institute of Arts) Landscape Composition: Italian Scenery, 1831-2 (Memorial Art Gallery, University of Rochester); Aqueduct near Rome, 1832 (Washington University Gallery of Art, St Louis); & The Course of Empire: Desolation, 1836 (New-York Historical Society)
Sebastian Pether A Ruined Gothic Church beside a River by Moonlight, c1841 (National Trust, Anglesey Abbey)
Jules Coignet Ruins in Baalbek, c1848 (Musee des Augusins, Toulouse)
Albert Janesch The Temple of Zeus, Athens, 1942 (Fort Belvoir, Virginia). See Y&D for a colour photo.
Martin Mooney Imaginary Views of Daingan,1997(Merrion Hotel Collection, Dublin)
Patrick Hennessey Roses & Temple, 2000 (Merrion Hotel Collection, Dublin)
SALON D’AUTOMNE:
This was founded in 1903 by Renoir, Vuillard & Roualt etc as a progressive alternative to the Salon. Its major memorial exhibitions for Gauguin in 1906 (after a small show in 1903) & for Cezanne in 1907 (after a substantial showing in 1905) had great influence. However, its most famous show was the Fauvist exhibition in 1905 L&L p626, OxDicMod
SALON DES INDEPENDANTS:
This was created in 1884 mainly by Seurat & Signac L&L p626
SCHULENBERG, Johann Matthias Von Der/Marshall, 1661-1747, Germany:
He was an eminent aristocrat who after his retirement from a military career, lived in Venice & built up a huge art collection as well as supporting Gian Antonio Guardi with a monthly salary, 1730-36, employing Giambattista, 1733-38 for history paintings & as adviser & restorer. His relationship with Piazzetta, who acted as an agent for buying Flemish & genre works, was close. Schulenberg not only commissioned works from Piazzetta but acquired a total of 957 paintings. They were mostly Italian works of the 16th & 17th centuries with some from the Low Countries. After his death the collection was dispersed. Frederick the Great purchased some & 150 were auctioned in London, 1775 Wikip, Knox p184
SCUOLA & plural SCUOLE:
These were charitable, devotioanal fraternities in Venice. Their walls were adorned with teleri –large, narrative paintings on canvas- & they are now virtual art galleries, eg the Scuola di S. Rocco & the Scuola di S. Giorgio degli Schaiavoni for which respectivelyTintoretto & Carpaccio painted L&L
SLADE SCHOOL OF FINE ART:
This is a training school for artists that was established in 1871 as part of University College, London
Development: The French system of working directly from the living model was introduced by Pointer, the first Slade Professor. Thus bean the tradition of outstanding draughtsmanship for which the Slade was famed. The Slade rapidly surpassed the RA as the country’s leading art school. Its heyday lasted from c 1895 to 1914. After the War the Royal College of Art began to rival the Slade which slumbered during the 1930s & 40s, though there was then resurgence under Coldstream. Its most influential teacher was probably Tonks whose students included Bomberg, Gertler, Gore, Grant, Augustus & Gwen John, Wyndham Lewis, Ben Nicholson, Orpen, Paul Nash, Matthew Smith, Stanley Spencer & Edward Wadsworth OxDicMod
The Neo-Primitives were a modernist coterie at the Slade (Nevinson, Gertler, William Roberts; Wadsworth, Stanley Spencer, Currie) who wore semi-uniforms, roamed Soho looking for trouble, & were inspired by Ruskin, the early Italians & the Pre-Raphaelites (still regarded as an ongoing movement) Harrison p65, Rothenstein p366; RASpencer p20
SOCIETY OF PAINTERS IN WATERCOLOURS, OLD WATERCOLOUR SOCIETY:
Background: Although the RA admitted watercolours to exhibitions, they were badly hung & pure watercolour painters could not become RAs Reynolds1971 p98
Development: The Society was founded in 1804 & was immediately successful. A rival & less exclusive New Society of Painters in Miniature & Watercolours s was founded in 1807 Reynolds1971 p98. Its prominent early members were extremely skilful but they saw landscape through eyes of Old Masters, especially Dughet. However around 1811 new members rescued British watercolour from sinking into a brownish Claude-like rut Reynolds1971 pp 99, 102
Membership: Very early Varley, Cristall, George Barret the Younger, John Glover. Cox, de Wint & Copley Fielding joined around 1811 Reynolds1971 p102
STAATLICHE MUSEEN ZU BERLIN:
This is not a gallery but a group of Berlin museums. etc. They include the Alte Nationalgalerie, Neue Nationalgalerie & the Gemaldegalerie Web
STATELY HOMES, British Isles:
Here are the leading places that house paintings & murals 1000BH, Waterhouse1953, etc:
Apsley House
Althorp
Belton House
Boughton House
Bowhill
Burghley House. The pictures, though not the ceilings, are mostly difficult to see due to light & hanging
Burton Agnes
Buscot Park. Unlike many National Trust properties the pictures are easy to see
Castle Howard
Chatsworth
Drumlanrig Castle
Dunrobin Castle
Blenheim Palace
Goodwood House
Harewood House
Holkam Hall
Kingston Lacy. Unlike many National Trust properties the pictures are easy to see
Longleat
Mallerstain
Petworth House
Raby Castle
Russborough House (Ireland)
Saltram
Syon House
Waddesdon Manor. Unlike many National Trust properties the pictures are easy to see
Waleslington Hall
Welbeck Abbey (in August)
Wightwick Manor
Wilton House
Woburn Abbey (Canaletto Room, etc)
STATENS MUSEUM FOR KUNST, Copenhagen (19th century painters are only included if they are listed in Norman1977)
Abilgaard The Wounded Philoctets , 1774-5
Juel Academy Holstein Girl, 1766-7
Juel The Ryberg Family Portrait, 1796-7
Eckersberg A View Through Three of the North-West Arches of the Colosseum, 1813-6
Eckersberg The Russia Ship ‘Assow’, 1828
Kobke Frederiksborg Castle in the Light of the Evening, 1836
Marstrand The Waagepetersen Family, 1836
Skovggard Landscape Near Kongens Moller, 1844
Roed Academy St ib Roskilde. In the Background the Cathedral
Dalsgaard Country Carpenter Bringing a Coffin for the Dead
Child, 1857
Anna Ancher Interior with a Younger Girl Platting Her Hair, 1901
Ring In the Garden Door, the Artist’s Wife, 1897
Plasterer. The Old House is Cleaned Up, 1908
Isakson Landscape with Bastions, 1921
Oluf Winter St, 1931
THE TWENTY/LES XX:
This was a Belgian Exhibition Society. It was founded in 1883 by avant-garde artists (Ensor, Khnopff etc). Annual shows were held in Brussels during 1884-93 & foreign artists of widely different types were invited to exhibit. They included Whistler, Sargent, Redon, Cezanne, Monet, Renoir, Toulouse-Lautrec, Seurat, & Signac. It was succeeded by Libre Esthetique Grove32 pp 590-1
TOP GALLERIES IN APPROXIMATE ORDER OF IMPORTANCE:
OVER 10 WORKS
National Gallery, London=57
Museum of Modern Art, New York City (NYC)=39
Louvre, Paris=30
Tate Gallery=29
Uffizi, Florence = 28
Hamburger Kunsthalle=22
Musee d’Orsay, Paris=22
Prado, Madrid=21
Musee National d’Art Moderne, Paris=16
Nationalmuseum, Stockholm=14
Victoria & Albert, London=14
Metropolitan Museum (NY) =10
Ashmolean, Oxford=10
Philadelphia Museum of Art=10
LESS THAN 10 WORKS
Detroit Institute of Art=9
Kunsthistorisch, Vienna=8
Scottish National Portrait, Edinburgh=8
Art Institute, Chicago=7
Albright-Knox, Buffalo=7
Brooklyn Museum of Art=7
Thyssen-Bornemisza, Madrid=7
Vatican, Rome=7
Accademia, Venice=6
Alte Pinakothek, Munich=6
Brera, Milan=6
Hermitage, St Petersburg=6
National Gallery of Scotland, Edinburgh= 6
National Gallery of Art, Washington DC=6
Saatchi, London=6
Belvedere, Vienna=5
Birmingham Museum & Art Gallery= 5
Guggenheim = 5
National Gallery of Australia, Canberra = 5
Walker Art Gallery, Liverpool = 5
Boston Museum of Fine Arts = 4
Courtauld, London = 4
Manchester Museum of Art= 4
Mauritshuis, The Hague = 4
National Gallery of Victoria= 4
Royal College of Art = 4
Wallace Collection, London = 4
Alte Nationalgalerie, Berlin=3
Museum of Fine Arts, Houston = 3
Muzeum Narodowe, Warsaw = 3
Nasjonalgalleriet, Oslo = 3
Nationalmuseun, Stockholm, Stockholm = 3
Pinacioteca Nazionale, Siena = 3
Seattle Art Museum = 3
Tretyakov, Moscow = 3
Worcester Art Musuem, Massachusetts = 3
Art Gallery of Ontario =2
Doria Pamphilj, Rome = 2
Dulwich Picture Gallery, London = 2
Frick Collection, New York = 2
Galleria Accademia Carrara, Bergamo = 2
Galleria Nazionale d’Art Antica/Palazzo Barberini, Rome=2
Huntington Library & Art Gallery, Los Angeles = 2
Iasbella Stewart Gardner Museum, Boston = 2
Iasbella Stewart Gardner Museum, Boston = 2
Kunstmuseum, Basel =2
Kunstmuseum, The Hague = 2
Musee des Beaux-Arts et d’Archeologie, Besancon=2
Musee Fabre, Montpellier=2
Museum of Fine Arts, Ghent =2
Musee Marmottan Monet, Paris = 2
Musees Royaux des Beaux-Arts, Brussels = 2
Museo di Capodimonte, Naples = 2
National Gallery of Victoria, Melbourne = 2
National Portrait Gallery, London = 2
Pazlazo Pitti, Florence = 2
Pushkin State Museum of Fine Arts, Moscow =2
Wallraf-Richartz Museum, Cologne=2
Walters Art Gallery, Baltimore = 2
Addison Gallery of American Art, Andover=1
Albertina, Vienna=1
Albright-Knox Art, Buffalo NYC-1
Andy Warhol Museum, Pittsburgh=1
Art Gallery of New South Wales, Sydney=1
Art Gallery of South Australia, Adelaide=1
Art Museum of Estonia, Talin, Estonia-1
Bradford Art Galleries & Museums=1
British Council Collection, London-1
British Museum=1
BroadArt Foundation, Santa Monica, USA=1
Busch Reisinger Museum, Cambridge, MA, USA=1
Butler Institute of American Art., Youngstown =1
Canadian War Museum, Ottawa, Canada=1
CentrePompidou, Paris, France=1
Dahesh Museum of Art, NYC=1
Daros Collection, Zurich, Switzerland=1
Deri Museum, Hungary=1
De Morgan Centre, London=1
Dulwich Picture Gallery, London=1
E.G. Buhurle Collection, Zurich, Switzerland=1
Fogg Art Museum, Cambridge/Harvard=1
Fondazione Lucio Fontana, Milan, Italy=1
Fondazione Palazzo, Citta di Castello, Italy=1
Foundation Maeght, Saint Paul de Vence, France=1
Fundacion Juan March, Madrid, Spain=1
Galleria Borghese, Rome=1
Galleria Nazionale della Marche, Urbino=1
Galleria Regionale, Palazzo Abbatellis, Palermo=1
Gamaldagalerie, Berlin=1
Gemaldegalerie, Dresden = 1
Germanisches National museum, Nuremberg=1
Georgia O’Keefe Museum, Santa Fe, USA=1
Georgian State Picture Gallery, Tbilisi=1
Goteborgs Konstmuseum, Sweden-1
Groeninge Museum, Bruges=1
Guildhall Art Gallery, London=1
Hayward Gallery, London=1
Hirshhorn Museum, Washington DC=1
Hood Museum of Art, Hanover, New Hampshire, USA=1
Imperial War Museum, London=1
Indianapolis Museum of Art=1
Institute Oscar Dominguez de Arte y Cultura, Santa Cruz, Tenerife,=1
Israel University, Jerusalem=1
Paul Getty Museum, Los Angeles, USA=1
Johannesburg Art Gallery=1
Kartner Landesgalerie, Vienna=1
Kimbell Art Foundation, Fort Worth, Texas=1
Koninklijk Museum, Antwerp=1
Kunsthaus, Zurich=1
Kunstammlung Nordrhein, Westfalen, Dusseldorf=1
Lady Lever Art Gallery, Port Sunlight, UK=1
Lancut Museum, Poland=1
Leamington Spa Art Gallery & Museum, UK=1
Leeds City Art Gallery, UK=1
Louisiana Museum, Humleback, Denmark=1
Malmo Museum, Malmo, Sweden=1
Magyar Namzeti/Hungarian NG/Budapest=1
Mozart Museum, Salzburg=1
Mucha Museum, Prague=1
Musee Conde, Chantilly=1
Musee Unterlinden, Colmar, France=1
Musee de Arte da Bahia, Brazil=1
Musee de la Chartreuse, Douai=1
Musee des Beaux-Arts, Nantes=1
Musee des Beaux-Arts, Tournai=1
Musee Matisse, Nice, France=1
Musee de Picardie, Amiens=1
Musee d’Unterlinden, Colmar=1
Musee Jacquemart-Andre, Paris=1
Musee Toulouse-Lautrec, Albi=1
Museo de America, Madrid=1
Museo de Arte de Sao Paulo=1
Museo de Bellas de Bilbao, Spain=1
Museo Nacional de Artes Visales, Uruguay=1
Museo Nacional de Belas Artes, Rio de Janerio, Brazil=1
Museo Nacional de Historia Castle of Chapultepec, Mexico=1
Museo Provincial de Bellas Artes, Zargoza=1
Museo Sorolla, Madrid, Spain=1
Museo Xul Solar, Buenos Aires, Argentina=1
Museum der Bilenden, Leipzig, Germany=1
Museum Georg Schaffer, Schweinfurt=1
Museum Kunst Palase, Dusseldorf, Germany=1
Museum of Modern Art, Barcelona=1
Museum Narodowe, Warsaw, Poland=1
Museum Voor Schone Kunsten, Ghent, Belgium=1
Muzeum Narodowe, Poznan=1
Muzeum Zamek, Lancut, Poland=1
Nationalgaerie, Berlin=1
Neue National Galerie, NYC=1
New Walk Museum, Leicester=1
New York Historic Society=1
Norwich Castle Museum, Norwich=1
Palace of Versailles =1
Palacio Nacional, Mexico=1
Palazzo Barberini, Rome=1
Peggy Gruggenheim Collection, Venice=1
Phillips Collection, Washington DC=1
Pinacoteca Civica, Sansepolcro=1
Pinacoteca Giuseppe de Nittis, Barletta, Italy=1
Rasmus Meyers Samlinger, Bergen, Norway=1
Reitberg Museum, Zurich=1
Rijksmuseum, Ansterdam=1
Rose Art Museum, Waltham, USA=1
Royal Pump Rooms, Royal Leamington Spa=1
Russell Cotes Art Gallery, Bournemouth=1
Sandham Memorial Chapel, Burghclere, UK=1
San Francisco Museum of Modern Art=1
Sheffield Galleries and Museums=1
Smithsonian American Art Museum, Washington DC=1
Smithsonian Institution, Washington DC=1
Southampton City Art Gallery, Hampshire=1
Stadelschen Kunstitut, Frankfurt=1
Stedelijk Museum, Amsterdam=1
Stodelsabes, Kunstinstitut, Frankfurt=1
Sydney State Library of New South Wales=1
Tate Collection, Liverpool=1
Tazzoli Collection, Turin=1
The Rachofsky Collection, Dallas=1
Thorvaldsen’s Museum, Copenhagen=1
Turku Art Museum, Finland=1
University of Liverpool Art Gallery=1
Walters Art Gallery, Baltimore1
Whitworth Art Gallery, Manchester=1
Yale University Art Gallery=1
The Courtauld Gallery, London=0
Barber Institute, Birmingham=0
Bowes Museum, Barnard Castle=0
The Burrell Collection, Glasgow=0
Carnevalet, Paris=0
The Courtauld Gallery, London=0
Kenwood House, London=0
Musee Granet, Aix en Provence=0
National Gallery of Ireland=0
Museum of Fine Arts, Tournai=0
Neue Nationalgalerie=0
Penlee House, Penzance=0
Petit Palais, Paris=0
Plymouth City Art Gallery & Museum=0
Royal Museum of Fine Arts, Antwerp=0
Yale Centre of British Art=0
The Ulster Museum, Belfast=0
This list includes the top galleries as ranked by the number of paintings in 1001 Paintings You Must See before You Die, I001. The number following the = indicates actual number, & the total is less than 1001 because some great paintings are in private ownership, etc. The list does not include some very important National Galleries, such as the National Gallery of Ireland, Dublin. Moreover, all other national galleries will be worth visiting, together with the principal gallery in provinces & towns,
It should be mentioned that some prestigious galleries such as the Tate Modern & the Musee Nationale d’ Art Moderne are mostly notable for their spaciousness rather than for the number of paintings on display. On the other hand, there are numerous splendid collections that are not included because not a single painting was counted as being in the top 1001 Where known they have therefore been accorded an entry, but coded zero (=0). However, the list is no doubt incomplete.
Where a gallery holds numerous works by a particular artist this has been mentioned wherever possible at the end of the entry for the artist in Section 1 under Collections. Those Palaces & Stately Homes with important collections are listed separately in this Section.
UFFIZI, Florence:
| The Uffizi is somewhat bewildering & an annotated guide for the puzzled visitor may therefore be helpful. Here is a list of works in room order with explanations of why they are notable, etc. They have partly been chosen because of their interest rather than their beauty or appeal. However many are stunning paintings.
Master of Greve The Casale Madonna, first half of 13th century (Hall of San Pier Scheraggio). This illustrates the type of iconic & semi-Byzantine religious image that was painted prior to the Italian Renaissance, though larger, cruder & more adventurous works were being painted on the walls of parish churches Sekules pp 72-5. Florentine Painter Crucifix late 12th century (Room 2). Note that Jesus has his eyes open & is not agonized. Prior to the Renaissance paintings tended to be iconic & to have little human appeal. They were intended to encourage the worship of God. Duccio Maester (The Rucellai Madonna), c1285 (Room 2). Together with Giotto, Duccio was the first pioneering Renaissance artist. Here the child is at least touching the Madonna though she is not looking at him. There is a strong feeling of depth despite the use of a traditional flat, gold background. The angels seem to be lifting the throne heavenwards thus anticipating Accession paintings. Giotto Maester, c1310 (Room 2). She is a real woman with breasts & is looking you in the eye. It is a notable step towards the realism that accompanied the development of capitalism. Simone Martini & Lippo Memmi Annunciation, 1333 (Room 3). This has typical Sienese linearity. Mary has a sinuous pose & is somewhat frightened which was a further step towards humanization. It is a painting that calls for an emotional response, not just worship. The work belongs to the type known as International Gothic category. This originated with illuminated manuscripts in France & arguably ended with Botticelli. It featured stylization of a fluid, curvilinear, elegant & refined type using a decorative line & with figures elongated & having subtle forms. Pietro Lorenzetti Madonna & Child Enthroned with Angels, c1340 (Room 3). Here the Virgin is looking at the Child & he is touching her face. Perspective is now being used correctly. This is a decorative panting with subtle coloring. Nardo Di Cione Crucifixion, c1350 (Room 4). This is a Christus Patiens (Suffering Christ) where he is dead, & has closed eyes, a bowed head & a sagging body. It did not appear in the West until the 11th century & was greatly developed from around 1230 due to the emotionalism of Franciscan preaching & their wish to express compassion at Christ’s suffering. Giottino Pieta c1363 (Room 4). The emotional temperature has risen & it has done so after the Black Death & other dire events. Masolino or Pesellio Virgin of Humility, c1420 (Room 5-6). The Virgin has become a real mother who is breast-feeding. This is of special significance because of the way in which she had been dehumanized through her virgin birth etc. It must also through association have enhanced the status of women. Paolo Uccello The Battle of San Romano, c1438 (Room 7). This was a new subject in the 15th century & was another aspect of artistic innovation. Discussion of Uccello’s work has focused on his use of perspective. What is perhaps more striking is the effect he creates. In his three San Romano battle scenes, of which this is one, he creates a vivid tapestry-like pattern. This he does by having a foreground of lances, soldiers & horses -mostly in bright colours- against a very dark local background. In this way he achieved a striking combination of decoration & realism. Piero Della Francesca Diptych of the Duchess & Duke of Urbino, c1472 Room 7. This is notable because it is the earliest landscape background in Italian Renaissance art, & an example of the way in which early Renaissance portraits were painted in profile. Husband & wife are entirely self-contained. It was s not an era of companionate marriage. Sandro Bottecelli Primavera c1481-2 (Room 10-4). Sandro Bottecelli The Birth of Venus, (Room 10-4). Leonardo Annunciation, c1472 (Room 15). This. as Kenneth Clark says, is an awkward composition but, as he also observes, it is cauterized by mood, by atmosphere. The way in which the trees are silhouetted against the grey evening sky displays a love of nature that painters were to pursue over the centuries in landscape painting. Sebastiano del Piombo The Death of Adonis, 1511-2. This work with its idealized nudes serene landscape background is a fine example of Venetian painting of the era. It has far more sense of movement than in earlier Renaissance works due to the off-centre figure groupings, turning heads, & pointing fingers. Movement & drama were to become the feature of Braque painting during the following century. Agnolo Bronzino Eleonora di Toledo with Her Son San Giovanni, c1545 (Room 18). A magnificent piece of painting but how remote & cold she looks. This portrait & others by Bronzino would seem to portray the arrogance & sterility of the rulers who took over the Italian city states. Eleanor’s husband, the Grand Duke Cosimo 1, was the first truly autocratic ruler in Florence. Raphael Madonna of the Goldfinch, c1505-6. To fully understand this painting, & Mary’s sadness, it is necessary to know that the goldfinch is associated with Christ’s Passion & the Crown of Thorns (because the bird eats thistle seeds). This is a High Renaissance painting & idealization & calm were features of this period. Raphael Pope Leo X with Cardinals Giulio de’ Medici & Luigi de Rossi. 1518 (Room 26). Rosso Fiorentino Moses Defends the Daughters of Jethro, c1523 (Room 27) . Corregio The Virgin Adoring the Christ Child, c1525 (Room 23). Enjoy. Titian Flora, c1516 (Room 28). Titian Venus of Urbino, 1538 (Room 28). Although Giorgione had already painted a prone female nude, the picture was hidden away. It was this painting which inspired such works until those of Modigliani in the early 20th century. In Titian’s painting, unlike that of Giorgione, the woman has her eyes open & is regarding us with a direct & unembarrassed gaze. We know that she was Angela Zaffetta, Venice’s second highest paid courtesan. But what is happening & what are the servants doing? Are they getting her clothes out or putting them away while she awaits a lover? Zaffeta was a friend & dining companion of Titian & his friend Arentino. At a time when the opportunities for women were so limited courtesansip was a possible profession for a beautiful woman. Parmigianino The Madonna of the Long Neck, c1536 (Room 29). Caravaggio The Adolescent Bacchus, c1598. At first glance he looks innocent but it is a picture about evil or what was then, & long after, considered evil. Not only does he have a flushed & sensuous face but his fingernails are dirty & the fruit is worm-eaten & half-rotten. His arms with their muscles indicate that he is older than he may appear. Artemisia Gentileschi Judith & Holophernes, c1620. This work illustrates one feature of Renaissance & Baroque painting: the violence of so many of the subjects. It was a violent period & Artemisia had herself been raped, though it is not clear that this is the right term. Is the picture connected with her experience of the way in which men sometimes treat women? No says the Feminist Germaine Greer. Artemisia was a professional artist & professionals paint whatever subjects are in vogue. Having looked at these paintings ask yourself what types of painting are absent? The Flea (Room 45) by Giuseppe Crespi will give you a hint. |
Albertinelli Visitation Tietze
Bellini, Giovanni Religious Allegory Tietze
Botticelli Adoration of the Magi Tietze
Birth of Venus 1001, Tietze
Calumny of Apelles 1001
La Primavera 1001, Tietze
Madonna of the Pomegranate Tietze
Augustine in the Cell 1001
Bronzino Portrait of Maria da Medici Tietze
Caravaggio Head of Medusa 1001
Young Bacchus Tietze
Carracci, Annibale Venus with a Satyr & Cupids 1001
Chardin Girl with a Shuttlecock 1001
Cimabue Virgin & Child Enthroned with Angels and Saints Tietze
da Fabriano Adoration of the Magi Tietze
del Castletagno Boccaccio 1001 [??]
della Francesca Portrait of Federico da Montefeltro & Battista Sforza 1001, Tietze
del Sarto Madonna of the Harpies Tietze
Dossi Sorcery or the Allegory of Hercules 1001
Duccio Rucellai Madonna 1001
Durer Adoration of the Magi Tietze
Fra Fillipo Lippi Adoration of the Child with S. Bernard 1001
Coronation of the Virgin Tietze
Froment Raising of Lazarus Tietze
Gentileschi, Artemisia Judith Beheading Holofernes 1001
Ghirlandio Virgin & Child Enthroned with Angels & Saints Tietze
Giotto Madonna & Child Enthroned with Angels & Saints Tietze
Kaufmann Self-Portrait 1001
Larsson Self-Examination 1001
Leonardo Annunciation 1001
Adoration of the Magi Tietze
Mantegna Circumcision Tietze
Liebermann Self-Portrait 1001
Lippi, Filippino Adoration of the Child 1001
Lorenzetti Beata Umilita Altarpiece 1001
Miracles of Bari 1001
Martini Annunciation with Two Saints 1001
Michelangelo Holy Family Tietze
Perugino Pieta 1001
Portrait of Francesco dell’ Opere Tietze
Pollaiulo Hercules & Antaeus Tietze
Pontormo Portrait of Cosimo de Medici Tietze
Raphael Madonna of the Goldfinch Tietze
Ruysch Flowers & Insects 1001
Titian Portrait of a Man 1001
Portrait of Francesco Maria della Rovere, Duke of Urbino Tietze
Titian Venus of Urbino 1001, Tietze
Uccello Battle of S. Romano 1001
van der Goes Portinari Altarpiece 1001, Tietze
Verrochio Baptism of Christ Tietze
von Amerling Drowsy One 1001
UNIT ONE:
History: This was a group of architects, painters & sculptors who, at the initiative of Paul Nash, decided in 1933 to proselytise for the European Modern Movement. Their 1934 only exhibition at Mayor Gallery in 1934 & in 1935 the group died due to lack of any unifying principle & divisions concerning abstraction EtoPM p398; Spalding1986 pp 108-9
Members etc: John Armstrong; Bigge; Burra; Wells Coates (architect); Hepworth (sculptor): Tristam Hillier; Hodgkins (briefly); Colin Lucas (architect); Moore (sculptor); Nash; Ben Nicholson; Herbert Read (spokesman); Wadsworth EtoPM p398: L&L
VICTORIA & ALBERT MUSEUM (V&A):
Anon Witch Ankarut
Vishnu Visvarupa, Preserver of the Universe, Represented as the Whole World
Akbar Rejoicing at the Birth of His Second Son;
Lu Tai Tai
Deposition from the Cross
Constable Brighton Beach with Colliers 1001
Cotman Chirk Aqueduct
Balchand Shah Jahan with Birds of Paradise
Birhitr Jahagir Preferring a Sufi Shaikh to Kings
Hilliard Youth Among Roses
Mansur Zebra
Landseer Lion
A Newfoundland Dog
Leyser Rejected Offer
Shengmo Flowers 1001
VISITATION
After the Annunciation Mary went to the house of Zacharias & greeted her pregnant cousin St Elizabeth his wife. The future St John leapt in her womb & Elizabeth was filled with the Holy spirit Murrays1996, DicChristianArt
WALKER ART GALLERY, Liverpool:
Daguere Ruins of Holyrood Chapel by Moonlight 1001
Freud Interior at Paddington 1001
Millais Isabella 1001
Poussin The Ashes of Phocion Collected by His Widow 1001
Segantini The Punishment of Lust 1001
WORLD OF ART GROUP (Mir Iskusstva):
This was an informal association of avant-garde Russian artists. It emerged from a group of boys led by Benois. They attended May College, a school for the children of the affluent St Petersburg intelligentsia Gray p37. In 1890 Benois became an intimate friend of Bakst, who soon became one of the leaders of the group. This met several days a week & papers were presented Gray p40. Diaghilev also became an associate, as did Serov & Korvin Gray p42–3.
Ultimately, under the leadership & editorship of Diaghilev, the World of Art magazine began publication in 1898, with Bakst & Benois providing assistance & Mamontov contributing money Gray pp 44-7, OxDicMod. The group encouraged interchange with Western art, republished foreign articles, & promoted Art Nouveau. They did not envisage that Russia would simply learn from the West but, on the contrary, thought it should take a leading role Gray p39. Roerich and some other members wanted to evoke the spirit of ancient Russia OxDicMod. More generally, the group believed in the renewal of art in all forms as an instrument for the salvation of mankind, with the artist as the dedicated priest Gray p37. However, their aspirations were not social. They were contemptuous of the Wanderers whom they believed had an adverse effect on culture Gray pp 38-9.
In 1904 the magazine ceased publication. The group felt that their mission of making contact with the western European avant garde, & enlightening the Russian intelligencia about both its national heritage & foreign painting, had been achieved Gray p51.
Between 1910 & 1924 the group, now revived simply as an exhibition society, held shows in St Petersburg, Moscow etc, showing work by Chagall, Kandinsky, Lissitzky, Tatlin etc OxDicMod
WORKS PROGRESS ADMINISTRATION, American, including Public Works Art Programme:
History: In 1933 George Biddle wrote to his friend President Roosevelt urging state support for mural painting. Roosevelt launched the Public Works Art Programme which awarded government commissions. This was succeeded by the Works Progress Administration’s Federal Art Project which, between 1935 & 1943, provided $23/week for competent but needy easel painters. The muralists were more closely controlled than other painters. In all, 3200 murals & c120,000 paintings, many abysmal, were created.
There was a desire to spread work through the nation & a bias against adventurous work. However, in New York, where the regional director (Burgoyne Diller) was an abstract artist, work of an adventurous nature was sponsored from Bolotowsky, James Brooks, de Kooning, Byron Brown, de Kooning, Gorky & Balcomb Greene Hughes1997 pp 451-3. Although much work has decayed or been destroyed there are still some [complete]
Discontent: Work conditions & facilities were usually inadequate. Artists disliked the enforcement of a paupers’ oath; the rules, regulations & supervision to which they were subject; & the summary firing of artists who began to organise. Partly in consequence the (radicalising) Artists’ Union was formed in 1933 ShapiroD pp 11, 12