A London Writing Cabinet for Cosimo III: A Late Seventeenth-Century Furniture Type and the Anglo-Italian Art Trade

2009 ◽  
Vol 17 (1) ◽  
pp. 33-67
Author(s):  
Michael Bohr
Keyword(s):  
Seventeenth Century ◽  
Art Trade ◽  
Italian Art

scholarly journals L’arte veneta nei disegni di Crowe e Cavalcaselle conservati presso la National Art Library di Londra

MDCCC 1800 ◽  
2019 ◽  
Author(s):  
Valentina Fraticelli
Keyword(s):  
Seventeenth Century ◽  
Middle Ages ◽  
Personal Interest ◽  
Scientific Rigour ◽  
Works Of Art ◽  
History Of ◽  
Italian Art ◽  
The Middle Ages

The collaboration between Joseph Archer Crowe and Giovanni Battista Cavalcaselle led to the publication of numerous printed works, to achieve which the two scholars developed a method of study and investigation of absolutely innovative works of art. Their private archives, preserved at the National Art Library of London and the Biblioteca Marciana of Venice, represent the most complete and precious collection of reproductions of works of Italian art from the Middle Ages to the seventeenth century. In the funds, several drawings of works of art of the Veneto – reflecting also a personal interest as well as scientific rigour – and the artistic history of the region from the Middle Ages to the seventeenth century can be traced, with an interesting deepening on the figure of Titian.

Philips Angels Lof der schilder-konst

1989 ◽  
Vol 103 (4) ◽  
pp. 181-222 ◽  
Author(s):  
Hessel Miedema
Keyword(s):  
Seventeenth Century ◽  
Middle Class ◽  
The Netherlands ◽  
High Rank ◽  
General Tendency ◽  
Art Theory ◽  
East Indian ◽  
Dutch Translation ◽  
Italian Art ◽  
Insight Into

AbstractPhilips Angel's Lof der schilder-const (In Praise of Painting, 1642) is one of the few pieces of writing we have as a source of notions on the theory of painting in the Netherlands. Yet it was not intended as an art-theoretical treatise: Angel read the text at a St. Luke's feast as part of the activities that were being undertaken to acquire guild rights for Leiden painters. In order to assess the value of the theoretical notions on which the paper is based, it is therefore necessary to analyse as far as possible the circumstances of its writing. First the Angel family is examined. Orginally from Antwerp, the Angels moved north in the 1590s, probably because of the Eighty Years' War, settling in Middelburg and Leiden. They were fairly prosperous middle-class citizens, mostly schoolteachers, painters and small shopkeepers. Both the Middelburg and Leiden branches produced painters called Philips Angel. The Middelburg Philips, almost certainly identical with a painter called Philips Angel who was active in Haarlem, is known to have produced quite a lot of paitings. Only one small etching by the Leiden Philips has survived; nothing is known of any paintings by him. The Leiden Philips, the author of Lof der schilder-const, had a turbulent career. He joined the painters who pressed for guild rights in Leiden, to which end he held his speech in 1641. As early as 1645, though, he gave up painting and travelled as an employee of the United East-Indian Compary to Indonesia. From there, promoted to the high rank of chief merchant, he was sent to Persia. He was dismissed on grounds of embezzlement, but managed to procure the post of court painter to the Shah. By 1656, however, he was back in Batavia (Jakarta), where he again obtained a number of highly regarded positions. Fired again for mismanagement and defalcation, his end was inglorious. The Lof der Schilder-const shows evident signs of a general tendency among Dutch painters of the mid-seventeenth century to claim a higher status for their profession. The text is duly meant less as a theoretical treatise than as a rhetorical amplificatio of the painter's profession. The author seems to have been reasonably well-read, although by no means scholarly; nor was he very conversant with the Italian art theory of his day. Scrutiny of the text reveals his superficial and undiscerning paraphrases of the few sources at his disposal (mainly Karel van Mander's Schilder-boeck and the Dutch translation of Franciscus Junius' De pictura veterum). Much of his eulogy is a summing-up of the distinguished characteristics a painter ought to have. The remarkable thing is that not one of those characteristics provides specific insight into the professional practise of the Leiden painters around 1641. As far as they are at all relevant to what was being painted in Leiden at that time - take the Leiden 'Precise School' of Gerard Dou's circle -, his remarks provide little more insight than a superficial consideration of the paintings would arouse in any layman.

scholarly journals Anadolu’da Ahî Teşkilatının Kalite Standart ve Yönetim Anlayışına İlişkin Uygulamaların Günümüze Yansımaları

2021 ◽  
Vol 7 (13) ◽  
pp. 577-591
Author(s):  
Ersin Çabucak
Keyword(s):  
Seventeenth Century ◽  
Thirteenth Century ◽  
Decisive Role ◽  
Social Institution ◽  
The State ◽  
Economic Life ◽  
National Community ◽  
The Social ◽  
Art Trade ◽  
Economic Institution

Abstract In the dictionary, Ahilik is the equivalent of the word “akı”, which means “kardas” in Arabic, and in Turkish, which means open-handed, hospitable and brave. The institution of Akhism is a socio-economic institution based on the concepts of art, trade and cooperation developed in the Anatolian geography. In the thirteenth century, Akhism became a social institution aiming to create a national community by spreading to the countryside. Akhism emerged as a national institution peculiar to the Ottoman state, and besides protecting the consumers, it played an important role in the holding and rooting of the Turks in the Anatolian geography. The structure of Akhism peculiar to the Ottoman state continued until the seventeenth century. To the extent that the Ottoman state's dominance area, which was outside the spread of Islam, expanded, it became a necessity to work among people belonging to different religions. During the collapse of the Ottoman state, the Akhism gradually degenerated by taking whatever fell on its behalf. As a result, the guild was corrupted, and the appointment was made according to the favor system, not according to the custom order. In this process, the state of the state is literally collapsing. Finally, in 1912, the guild organization was completely abolished from the square. In this way, the Akhism, which lived for seven hundred years and played a decisive role in the social, cultural and economic life of the Anatolian people, rose to the dusty shelves of history. Keywords: Ahî Evran, Akhism, Moral.

scholarly journals Cornelis De Bie, il Gulden Cabinet e la pittura di natura morta e di genere in Italia I casi di Francesco Noletti detto il Maltese, Mario dei Fiori, Grechetto, Michelangelo Cerquozzi e una riflessione su Pieter Boel e David De Coninck

Venezia Arti ◽  
2020 ◽  
Author(s):  
Luca Fiorentino
Keyword(s):  
Seventeenth Century ◽  
Still Life ◽  
Intrinsic Motivations ◽  
The Subject ◽  
Italian Art

This article spotlights the lives of Italian still life painters in one of the most important seventeenth-century Flemish source texts: Het Gulden Cabinet van de edel vry schilder-const by Cornelius De Bie (1662). This essay offers the first Italian translations of texts dedicated to these painters and examines the intrinsic motivations that led De Bie to choose them as the subject of his panegyrics. The writing underscores the connections De Bie must have had with information brought home by his father (who lived in Rome for years), with Gaspar Roomer and his collections, and with Italian art literature, to which he owed a debt as for information obtained and source documents. In addition, the article discusses the life of Pieter Boel, who spent many years in Italy, and of one of his best pupils, David De Coninck.

The Birth of the Amateur

Nuncius ◽  
2016 ◽  
Vol 31 (3) ◽  
pp. 499-522
Author(s):  
Paul Taylor
Keyword(s):  
Seventeenth Century ◽  
Modern Art ◽  
Art Market ◽  
Art Works ◽  
Art Trade ◽  
Economic Developments

Between the 16th and the 19th centuries the concept of “the amateur” shifted in sense. At the beginning of the period it referred to lovers, either of people or things, but by the end it had come to refer to non-professionals and dilettantes. This article traces the change in the word’s meaning, arguing that the shift of sense took place due to economic developments in the art trade. During the course of the seventeenth century the modern art market emerged, in which purchasers acquired art works through a network of dealers, without making contact with artists. This new anonymity of exchange led to resentment on the part of some artists and writers about art, who introduced a distinction between art lovers – amateurs – who knew nothing of art, and art knowers – connoisseurs – who were thought qualified to judge.

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