Showing posts with label gardens. Show all posts
Showing posts with label gardens. Show all posts

Thursday, November 14, 2019

Eugène Atget at Versailles - Early Twentieth Century

Eugène Atget
Versailles - Coin du Parc
1902
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Vase par Cornu
1902
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Vase par Cornu
1903
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Vase (detail)
ca. 1906-1907
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Le Rhone
1901
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Fontaine du Point du Jour
(Limier abattant un Cerf)
1903
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Fontaine du Point du Jour
(Tigre terrassant un Ours)
1903
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Fontaine de Diane
ca. 1901
albumen print
Art Institute of Chicago

During the Service

How strange my lack of faith must seem to you.
I see the way your god provides a cradle for your grief;
how lovely to be certain that the ancient story's true.

You sang the hymns as if each word were new –
At last, you sang, at last in Your / Eternal arms I'll find relief
(how strange my lack of faith must seem to you) –

while I kept drifting, lost in the refrains and in the blue
fragility the tinted glass provided us to bow beneath
(how lovely to be certain that the ancient story's true).

Beneath the moderated sky we rose and sang and cried on cue;
familiar words were read to keep our sorrow brief
(how sad my lack of faith must seem to you);

the book upon the altar and the hymnals in each pew
held pages edged in fine gold leaf –
how lovely seeing that the ancient story's true –

and I was wondering just what it cost to see this vaulting through:
the ceilings, windows, ornaments; the engineering of belief . . .

But let my lack of faith seem strange to you!
You're lovely certain that the ancient story's true.

– Carrie Grabo (2001)

Eugène Atget
Versailles - Bosquet de l'Arc de Triomphe
1904
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Bosquet de l'Arc de Triomphe
1904
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Bosquet de l'Arc de Triomphe
1903
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Bassin du Midi
1901
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Abduction of Proserpine by Pluto
1904
albumen print
Art Institute of Chicago

Eugène Atget
Versailles - Abduction of Proserpine by Pluto (Base)
1904
albumen print
Art Institute of Chicago

Soft-Focus Photography by Frederick H. Evans

Frederick H. Evans
Winchelsea - Steps to Queen Elizabeth's Well
ca. 1905
gelatin silver print
Art Institute of Chicago

Frederick H. Evans
Bourges Cathedral, West Front
1908
platinum print
Art Institute of Chicago

Frederick H. Evans
Château Fontaine, Fleury, La Chapelle
ca. 1890
platinum print
Art Institute of Chicago

Frederick H. Evans
Ely Cathedral, Lady Chapel (detail)
ca. 1891
lantern slide
Art Institute of Chicago

Frederick H. Evans
F. Holland Day in Algerian Costume
ca. 1901
platinum print
Art Institute of Chicago

"The writer George Bernard Shaw said of his friend Frederick Evans's work: "Mr. Evans has set a standard in photography that most of us find entirely impossible to live up to.  He is a gentleman who has dedicated himself to an art which is disparaged by those who believe that when a lens is in a box it is mechanical, but not when it is in a man's head."

"Evans, a bookseller by trade, distinguished himself as a photographer of landscapes and architecture.  He became a member of the British Linked Ring society of photographers in 1900 or 1901 and was made an honorary fellow of the Royal Photographic Society in 1928.  Evans was the first British photographer whose work Alfred Stieglitz published in Camera Work, his influential journal of photography.  Like his friend and fellow bookseller Fred Holland Day, Evans preferred the results achieved with the platinum print; and, like Day, he gave up photography after World War I when the precious metal became prohibitively expensive and was eventually no longer available for photographic purposes."

– from a biographical note at the Getty Museum

Frederick H. Evans
Kelmscott Manor - The Garden Front
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - In the Garden
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - From the Orchard
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - In the Tapestry Room
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - In the Tapestry Room
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - In the Tapestry Room
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - In the Tapestry Room
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott Manor - In the Attics
1896
lantern slide
Art Institute of Chicago

Frederick H. Evans
Kelmscott - The Thames near the Manor
1896
lantern slide
Art Institute of Chicago

Monday, July 8, 2019

Armida

Jan Soens
Armida and Rinaldo in the Enchanted Garden
ca. 1580
oil on panel
Walters Art Museum, Baltimore

Édouard Muller, called Rosenmuller (designer)
Garden of Armida
1854
block-printed wallpaper
Philadelphia Museum of Art

Giuseppe Passeri
Rinaldo and Armida
before 1714
drawing
Metropolitan Museum of Art, New York

Giambattista Tiepolo
Rinaldo enchanted by Armida, with Venus presiding
ca. 1742-45
oil on canvas
Art Institute of Chicago

Giandomenico Tiepolo after Giambattista Tiepolo
Rinaldo enchanted by Armida, with Venus presiding
1760
etching
Rijksmuseum, Amsterdam

Giuseppe Cades
Armida gazes on the sleeping Rinaldo
1785
drawing (colored chalks)
Philadelphia Museum of Art

from The Faerie Queene

There, whence that Musick seemed heard to bee,
Was the faire Witch her selfe now solacing,
With a new Lover, whom through sorceree
And witchcraft, she from farre did thither bring:
There she had him now layd a slombering,
In secret shade, after long wanton joyes:
Whilst round about them pleasauntly did sing
Many faire Ladies, and lascivious boyes,
That ever mixt their song with light licentious toyes.

And all that while, right over him she hong,
With her false eyes fast fixed in his sight,
As seeking medicine, whence she was strong,
Or greedily depasturing delight:
And oft inclining downe with kisses light,
For feare of waking him, his lips bedewed,
And through his humid eyes did sucke his spright,
Quite molten into lust and pleasure lewd;
Wherewith she sighed soft, as if his case she rewed.

– Edmund Spenser (1596)

Nicolas Poussin
Rinaldo and Armida
ca. 1625
oil on canvas
Dulwich Picture Gallery, London

Giovanni Battista Gaulli
Rinaldo and Armida
ca. 1680-85
oil on canvas
Blanton Museum of Art, Austin, Texas

Sebastiano Conca
Rinaldo and Armida
ca. 1725
oil on canvas
Saint Louis Art Museum

Guercino
Sleeping Rinaldo abducted by Armida
(study for ceiling of Palazzo Costaguti, Rome)
before 1623
drawing
Fitzwilliam Museum, Cambridge

Andrea Camassei
Armida abducts Rinaldo
before 1649
oil on canvas
Nationalmuseum, Stockholm

Luca Giordano
Armida and Rinaldo
ca. 1675
oil on canvas
Museo del Prado, Madrid 

François Boucher
Rinaldo and Armida
1734
oil on canvas
Musée du Louvre

Francesco Fontebasso
Rinaldo and Armida
before 1769
drawing
Art Institute of Chicago

Alessandro Tiarini
Rinaldo and Armida
ca. 1600-1625
oil on canvas
Palais des Beaux-Arts de Lille

Saturday, December 15, 2018

Views in Rome by Giovanni Volpato and Louis Ducros

Giovanni Volpato and Louis Ducros
Baths of Caracalla
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Interior of the Baths of Caracalla
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Sonnet 64

When I have seen by Time's fell hand defaced
The rich proud cost of outworn buried age,
When sometime lofty towers I see down rased,
And brass eternal slave to mortal rage;
When I have seen the hungry ocean gain
Advantage on the kingdom of the shore,
And the firm soil win of the wat'ry main,
Increasing store with loss and loss with store;
When I have seen such interchange of state,
Or state itself confounded to decay,
Ruin hath taught me thus to ruminate
That Time will come and take my love away.
     This thought is as a death, which cannot choose
     But weep to have that which it fears to lose.

– William Shakespeare (1564-1616)

Giovanni Volpato and Louis Ducros
Arch of Septimius Severus
ca. 1780
hand-colored etching
 British Museum 

Giovanni Volpato and Louis Ducros
Arch of Titus
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Interior of the Colosseum
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Temple of Concord
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Temple of Jupiter Stator
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Temple of Peace
ca. 1780
hand-colored etching
British Museum 

from Caelica

When all this All doth passe from age to age,
And revolution in a circle turne,
Then heavenly Justice doth appeare like rage,
The Caves doe roare, the very Seas doe burne,
     Glory growes darke, the Sunne becomes a night,
     And makes this great world feele a greater might.
When Love doth change his seat from heart to heart,
And worth about the wheele of Fortune goes,
Grace is diseas'd, desert seemes overthwart,
Vowes are forlorne, and truth doth credit lose,
     Chance then gives Law, Desire must be wise,
     And looke more wayes than one, or lose her eyes.
My age of joy is past, of woe begunne,
Absence my presence is, strangenesse my grace,
With them that walke against me, is my Sunne:
The wheele is turn'd, I hold the lowest place,
     What can be good to me since my love is,
     To doe my harme, content to doe amisse?

– Fulke Greville (1554-1628)

Giovanni Volpato and Louis Ducros
Terrace of the Campidoglio
ca. 1780
hand-colored etching
British Museum 

Giovanni Volpato and Louis Ducros
Garden of Palazzo Colonna
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Garden of Villa Pamphili
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Villa Farnese
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Villa Montalto Negroni
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York

Giovanni Volpato and Louis Ducros
Villa Borghese
ca. 1780
hand-colored etching
Metropolitan Museum of Art, New York