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Geest en Gratie
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Geest en Gratie
On 13 December 2012 the Museum of Fine Arts (Szépmüvészeti Múzeum) Budapest organized a feast on the occasion of the 70th birthday of Ildikó Ember, Head of Department of Old Masters' Gallery. She was presented with the first copy ofGeest en gratie. Essays Presented to Ildikó Ember on Her Seventieth Birthday. This volume comprises 29 essays by a group of international scholars.0From the table of contents0-Quentin Buvelot: On Coorte's Still Life with Two Walnuts0-Fred Meijer: A Partridge by Abraham van Calraet (1642-1722) in Budapest0-Júlia Tátrai: The Beatified Martyrs of Gorcum: A Series of Paintings by David Teniers the Younger and Wouter Gysaerts0-Ursula Härting: Blumenbuketts in Prunkvasen. Frans Francken II. - Andries Daniels - Philips de Marlier0.
Jacopo Strada and Cultural Patronage at The Imperial Court (2 Vols.)
In Jacopo Strada and Cultural Patronage at the Imperial Court: Antiquity as Innovation, Dirk Jansen provides a survey of the life and career of the antiquary, architect, and courtier Jacopo Strada (Mantua 1515–Vienna 1588). His manifold activities — also as a publisher and as an agent and artistic and scholarly advisor of powerful patrons such as Hans Jakob Fugger, the Duke of Bavaria and the Emperors Ferdinand I and Maximilian II — are examined in detail, and studied within the context of the cosmopolitan learned and courtly environments in which he moved. These volumes offer a substantial reassessment of Strada’s importance as an agent of change, transmitting the ideas and artistic language of the Italian Renaissance to the North.
The Museum Age in Austria-Hungary
This important critical study of the history of public art museums in Austria-Hungary explores their place in the wider history of European museums and collecting, their role as public institutions, and their involvement in the complex cultural politics of the Habsburg Empire. Focusing on institutions in Vienna, Cracow, Prague, Zagreb, and Budapest, The Museum Age in Austria-Hungary traces the evolution of museum culture over the long nineteenth century, from the 1784 installation of imperial art collections in the Belvedere Palace (as a gallery open to the public) to the dissolution of Austria-Hungary after the First World War. Drawing on source materials from across the empire, the authors...
El Greco to Rippl-Rónai
Marcell Nemes of Jánoshalma (1866-1930) was one the most striking examples of ordinary citizens of Hungary to collect art. His activities as a collector and patron of art were for decades almost inextricably intertwined with the Museum of Fine Arts. In 1909 and 1910 it was here that the fines pieces of his fast swelling private collection were first exhibited, including the famous El Greco pictures, which soon afterwards came as a revelation to the contemporary public in Munich and Düsseldorf.0Exhibition: Museum of Fine arts, Budapest (26.10.2011-19.2.2012).
Museum Guide
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Burgenland
A dazzling multi-generational examination exploring Jewishness in Europe, the Holocaust and the dark spectres of anti-Semitism and populism.
The Retablo de Isabel la Católica by Juan de Flandes and Michel Sittow
This book is the first serious monograph about the Retablo de Isabel la Catolica (ca. 1496-1504) painted by Juan de Flanders and Michel Sittow. Tracing the critical history of the altarpiece and publishing some archival material for the first time, it presents the first discussion and technical examination of the individual panels, including infrared reflectography and microscopie examination of the painted surface. Technical examination also reveals the subject matter was closely related to the religious and political issues that concerned Queen Isabella in the waning years of her reign. The conservatism inherent in the austere painted treatment of the lives of Christ and the Virgin Mary is compared to conservative works of religious literature commissioned by or dedicated to the Queen in the years that the altarpiece was being painted. Finally, a brief catalogue of the surviving twenty-eight panels will restore a degree of narrative coherence to a project that is too little understood in large part because of the early dispersal of its paintings.
