Showing posts sorted by relevance for query prodigal. Sort by date Show all posts
Showing posts sorted by relevance for query prodigal. Sort by date Show all posts

Thursday, November 9, 2023

Visual Relics (1980-1982)

Joel Meyerowitz
Untitled
1980
dye transfer print
Nelson-Atkins Museum of Art, Kansas City, Missouri

Robert Mapplethorpe
Helen Whitney
1980
gelatin silver print
Los Angeles County Museum of Art

Robert Mapplethorpe
Peter Reed, New York City
(Contemporary Ballet Company)
1980
gelatin silver print
Princeton University Art Museum

Lawrence J. Merrill
New York City
1981
C-print
Minneapolis Institute of Art

Garry Winogrand
Untitled
1981
gelatin silver print
Minneapolis Institute of Art

Garry Winogrand
Untitled
1981
gelatin silver print
Minneapolis Institute of Art

Minette Lehmann
Man: A Treatise
1981
gelatin silver prints
Art Institute of Chicago

Deborah Turbeville
Versailles
1981
gelatin silver print
Victoria & Albert Museum, London

Gotfryd Bernard
Mikhail Baryshnikov, Rudolf Nureyev, Paul Taylor - in Rehearsal
1981
35mm slide
Library of Congress, Washington DC

Duane Michals
The Return of the Prodigal Son I
1982
gelatin silver print
Princeton University Art Museum

Duane Michals
The Return of the Prodigal Son II
1982
gelatin silver print
Princeton University Art Museum

Duane Michals
The Return of the Prodigal Son III
1982
gelatin silver print
Princeton University Art Museum

Duane Michals
The Return of the Prodigal Son IV
1982
gelatin silver print
Princeton University Art Museum

Duane Michals
The Return of the Prodigal Son V
1982
gelatin silver print
Princeton University Art Museum

Nan Goldin
Brian in the Cabana, Puerto Juárez, Mexico
1982
C-print
Milwaukee Art Museum

Larry Fink
Self and Molly
1982
gelatin silver print
Los Angeles County Museum of Art

He Posits Certain Mysteries

The body of the boy who took his flight
off the cliff at Kilchloher into the sea
was hauled up by curragh-men, out at first light
fishing mackerel in the estuary.
"No requiem or rosary" said the priest,
"nor consecrated ground for burial,"
as if the boy had flown outside the pale
of mercy or redemption or God's love.
"Forgive them, for they know not what they do,"
quoth Argyle to the corpse's people,
who heard in what he said a sort of riddle,
as if he meant their coreligionists
and not their sodden, sadly broken boy. 
Either way, they took some comfort in it
and readied better than accustomed fare
of food and spirits; by their own reckoning:
the greater sin, the greater so the toll. 
But Argyle refused their shilling coin
and helped them build a box and dig a grave.
"Your boy's no profligate or prodigal,"
he said, "only a wounded pilgrim like us all.
What say his leaping was a leap of faith,
into his father's beckoning embrace?"
They killed no fatted calf. They filled the hole.

– Thomas P. Lynch (2011)

Tuesday, May 18, 2021

Guercino in Bologna - 1642-1643

Guercino (Giovanni Francesco Barbieri)
Assumption of the Virgin, with St Francis
and Martyred Saint Pope Alexander I

1643
oil on canvas
Chiesa di Santa Maria Forisportam, Lucca

"Padre Abate Puccinelli seems to have been largely instrumental in convincing Sig. Alessandro Mazzarosa of Lucca to employ Guercino to paint the altarpiece for his family chapel.  His payment of 400 ducats was entered in the account book on 19 May 1643.  . . .  The subject of St Francis and Pope Alexander I witnessing the Assumption of the Virgin is highly unusual.  This anachronistic concept was surely at the instance of the patron, who bore the same Christian name as the pope.  The picture was successfully restored in 1991 by Ottorino Nonfarmale, showing it to be beautifully preserved, a phenomenon all too rare for Guercino's altarpieces of this date.  . . .  St Alexander I, with his shiny bald head contrasting with his richly embroidered vestments, often in reverse to his painted counterpart, became one of the most popular half-lengths in Guercino's handbook on drawings, which went through several editions, for example Francesco Curti's bearded version of the figure [directly below]."

Francesco Curti after Guercino
Study for Pope
ca. 1635-40
engraving after Guercino drawing, from published drawing manual
British Museum

anonymous copyist after Guercino
Return of the Prodigal Son
(workshop copy of lost painting)
ca. 1642-43
oil on canvas
Kunsthistorisches Museum, Vienna

Guercino (Giovanni Francesco Barbieri)
Return of the Prodigal Son
ca. 1642-43
drawing (compositional study)
National Gallery of Art, Washington DC

Guercino (Giovanni Francesco Barbieri)
Return of the Prodigal Son
ca. 1642-43
drawing (compositional study)
private collection

Guercino (Giovanni Francesco Barbieri)
Return of the Prodigal Son
ca. 1642-43
drawing (figure study - Father)
Scottish National Gallery, Edinburgh

Guercino (Giovanni Francesco Barbieri)
Return of the Prodigal Son
ca. 1642-43
drawing (head study - Son)
private collection

Guercino
Virgin and Child with St Anne
1642-43
oil on canvas
Chiesa di San Martino, Senigallia

"[Carlo Cesare] Malvasia noted that 'Tomaso Balducci di Sinigaglia' ordered the altarpiece in 1643.  As recorded in the account book, its estimated cost was 230 scudi di paoli.  Balducci paid a deposit of 100 scudi di paoli (128 scudi, 3 lire) and on 6 October 1643 he settled the balance of 127 scudi di paoli (154 scudi, 1 lira).  This was among the first important canvases Guercino painted in Bologna after his arrival in September 1642."

Guercino (Giovanni Francesco Barbieri)
Virgin and Child with St Anne
1642-43
drawing (drapery study - St Anne)
Staatsgalerie, Stuttgart

Guercino (Giovanni Francesco Barbieri)
Virgin and Child with St Anne
1642-43
drawing (drapery study - St Anne)
Staatsgalerie, Stuttgart

Guercino (Giovanni Francesco Barbieri)
Virgin and Child with St Anne
1642-43
drawing (drapery study - St Anne)
Staatsgalerie, Stuttgart

Guercino (Giovanni Francesco Barbieri)
Virgin and Child with St Anne
1642-43
drawing (drapery study - the Virgin)
Staatsgalerie, Stuttgart

Guercino (Giovanni Francesco Barbieri)
Virgin and Child with St Anne
1642-43
drawing (drapery study - the Virgin)
Staatsgalerie, Stuttgart

Guercino (Giovanni Francesco Barbieri)
Virgin and Child with St Anne
1642-43
drawing (drapery study - the Virgin)
Staatsgalerie, Stuttgart

Guercino (Giovanni Francesco Barbieri)
Agony in the Garden
ca. 1640-45
oil on canvas
National Museum of Wales, Cardiff

"The painting may be identical with the 'Christo grande orante nell'Orto con l'Angelo & Apostoli in lontananza' recorded by Malvasia among the paintings by Guercino made at different times in his career that remained in his house in Bologna at his death.  The painting does not feature in the account book.  Why it was neither paid for nor delivered is unknown.  The style indicates a date in the first half of the 1640s."

– quoted texts from The Paintings of Guercino: a revised and expanded catalogue raisonnĂ© by Nicholas Turner (Rome: Ugo Bozzi Editore, 2017)

Friday, April 13, 2018

A 17th-century Album of Prints by Pietro Testa

Album of etchings by Pietro Testa
ca. 1650-1700
National Galleries of Scotland

Pietro Testa
Allegory of the Seasons - Spring
ca. 1637-38
etching
National Galleries of Scotland

Pietro Testa
Allegory of the Seasons - Summer
ca. 1644
etching
National Galleries of Scotland

Pietro Testa
Allegory of the Seasons - Autumn
ca. 1642
etching
National Galleries of Scotland

Pietro Testa
Allegory of the Seasons - Winter
1644
etching
National Galleries of Scotland

"Pietro Testa's career as a printmaker began in Rome, where Joachim von Sandrart not only gave him financial support but also introduced him to some of the greatest engravers of the day, especially the northern artists Cornelis Bloemaert and Theodor Matham, both of whom were employed by Sandrart in engraving the statues in the Galleria Giustiniani.  They taught Testa to engrave, but he found the suggestive and flexible medium of etching more suited to his rapid pen style and to his preoccupation with the practical and theoretical problems of chiaroscuro.  By the second half of the 1630s, with his career as a painter already foundering, Testa's skill as an etcher became the chief source of his income and reputation.  But Testa none the less continued to think of himself primarily as a painter throughout his life, and this attitude led to an entirely new conception of his own printmaking.  Whereas his earliest prints are in the main small and unambitious compositions, by the latter 1630s the conception of his etchings becomes almost that of substitute paintings.  Their large size and complex composition demanded the same detailed preparation; and at the same time Testa's considered mastery of the technical skill required to work on such a scale enabled him to compensate for the loss of palette through a theoretically founded application of colouristic values of light and shade.  An important group of etchings in this category is the four large prints of the Seasons, the light and shadows of which change according to the changing light of the four seasons themselves.  They were especially admired by Sandrart, Testa's early protector, as the finest of all his inventions, wherein he had set forth with many fine and strange thoughts Time's changes upon the earth and the movements of the starry heavens."  

– Elizabeth Cropper, from Virtue's Wintry Reward: Pietro Testa's Etchings of the Seasons (London: Journal of the Warburg and Courtauld Institutes, 1974)

Pietro Testa
Story of the Prodigal Son I - Departure
before 1650
etching
National Galleries of Scotland

Pietro Testa
Story of the Prodigal Son II - Dissipation
before 1650
etching-
National Galleries of Scotland

Pietro Testa
Story of the Prodigal Son III - Among the Pigs
before 1650
etching-
National Galleries of Scotland

Pietro Testa
Story of the Prodigal Son IV - Return
before 1650
etching
National Galleries of Scotland

Pietro Testa
Thetis immerses Achilles in the waters of the Styx
before 1650
etching
National Galleries of Scotland

Pietro Testa
Symposium (Seven Sages of Greece)
before 1650
etching
National Galleries of Scotland

Pietro Testa
Death of Cato
before 1650
etching
National Galleries of Scotland

Pietro Testa
Garden of Charity (horizontal)
before 1650
etching
National Galleries of Scotland

Pietro Testa
Garden of Charity (vertical)
before 1650
etching
National Galleries of Scotland

Pietro Testa
Garden of Venus
before 1650
etching
National Galleries of Scotland

Pietro Testa
Venus and Adonis
before 1650
etching
National Galleries of Scotland

"The invention of the subject matters of these etchings [of the Seasons] in fact shows Testa's preoccupation with the same system of mythological exegesis which informs a great many of his friend Poussin's paintings of the decade 1628-38 . . .  Testa's series probably began, as we shall see, around 1638 with the etching of the Spring, but the closeness of his mythological imagery to Poussin's, derived from the antiquarian circle of Cassiano dal Pozzo (for whom Testa worked) is explicit at an earlier date, notably in [Testa's] painting of Venus and Adonis now in the Kunstakadamie in Vienna.  This painting, which is unusual in its representation of a dead boar and a living Adonis who succumbs to and does not resist the appeals of Venus, reverses the conventional mythological relationships of the fable, and in so doing closely follows another painting by Poussin, the Venus and Adonis in the Rhode Island School of Design.  The style of Testa's painting derives from Poussin's style of the latter 1620s and early 1630s (the Rhode Island picture is from this period), a fact which suggests that Testa's version is to be dated around 1635-36, that is, to a moment just before Poussin's style began to move decisively towards the monumentality of the 1640s.  It follows from this that the beautiful and accomplished print [directly above] executed by Testa after his painting dates from the same period.  The print was given by Testa to Niccolò Menghini, the sculptor who after restoring Roman sculpture in the Palazzo Barberini became supervisor of the Barberini collection of antiquities until his death in 1655.  Its subject, described as 'singularissima inventione' by Menghini, is, like Poussin's before it, determined by a Macrobian analysis of the meaning of the myth.  Accordingly the death of Adonis represents the loss of the sun's power at the onset of winter, symbolized by the boar, when the sun enters into the lower hemisphere of the Zodiac, over which Proserpine presides.  The death of Adonis is, however, only temporary, and with the springtime ascent of the sun into the upper hemisphere, whose tutelary spirit is Venus, the boar of winter dies and the god returns to life.  Testa's Venus and Adonis follows Poussin's painting in being concerned, through its reversal of the sequence of the myth, not with simple narrative exposition but with a presentation of the philosophic principles underlying the poetic fable, making of the painting and the print an allegory of spring."  

– Elizabeth Cropper, from Virtue's Wintry Reward: Pietro Testa's Etchings of the Seasons (London: Journal of the Warburg and Courtauld Institutes, 1974)

Tuesday, March 30, 2021

Guercino in Cento - 1618-1619 (II)

Guercino (Giovanni Francesco Barbieri)
Martyrdom of St Peter
ca. 1618-19
oil on canvas
Galleria Estense, Modena

Turner notices that the executioner painted into the bottom right corner of Guercino's Martyrdom of St Peter is a mirror-image of the executioner in the upper left corner of Caravaggio's Martyrdom of St Peter [directly below], installed seventeen years earlier in the Basilica of Santa Maria del Popolo in Rome.  Yet the young Guercino would not make his first trip to Rome for another three years.  Given Caravaggio's posthumous celebrity, Turner suggests that drawings of his composition must have penetrated to artistic circles in Emilia, where they could have reached Guercino. 

Caravaggio
Martyrdom of St Peter
1601
oil on canvas
Basilica di Santa Maria del Popolo, Rome

Guido Reni
Martyrdom of St Peter
1604
oil on canvas
Pinacoteca Vaticana, Rome

For his own Martyrdom of St Peter of 1604, Guido Reni did have access to the Caravaggio painting.  Reni's altarpiece was also installed in a Roman church (San Paolo alle Tre Fontane) – equally unavailable to Guercino in Cento as early as 1618.  Yet Turner points out that the central group in the younger artist's preparatory drawing below "is much the same as in Reni's, but in reverse."  By its ephemeral nature, the circulation of copy-drawings between groups of artists from one region of Italy to another is a topic more amenable to inference and speculation than evidence. 

Guercino (Giovanni Francesco Barbieri)
Martyrdom of St Peter
ca. 1618-19
drawing (compositional study)
British Museum

Guercino (Giovanni Francesco Barbieri)
Martyrdom of St Peter
ca. 1618-19
drawing (drapery study, St Peter)
Staatsgalerie, Stuttgart

Jean-Honoré Fragonard after Guercino
Martyrdom of St Peter
ca. 1760
copy drawing
Norton Simon Museum, Pasadena, California

In his finished altarpiece Guercino settled on an earlier moment in St. Peter's ordeal, avoiding the tricky matter of depicting him with appropriate pathos and solemnity while upside-down.   

Guercino (Giovanni Francesco Barbieri)
St Sebastian Succoured
1619
oil on canvas
Pinacoteca Nazionale di Bologna

"According to [Carlo Cesare] Malvasia, [St Sebastian Succoured] was painted in 1619 for Cardinal Serra, whose first cousin Giovanni Francesco Serra (1609-56) settled at Cassano in the Kingdom of Naples in 1631.  The picture remained in Naples and descended via marriages between two branches of the Serra family and members of the Caracciolo and Carafa families, eventually hanging in the Palazzo Caracciolo-Carafa on the Riviera di Chiaia.  In 1970 the Italian State purchased it on behalf of the Pinacoteca Nazionale, Bologna, at auction from the Caracciolo-Carafa heirs, and the following year it was presented, after its restoration."

Guercino (Giovanni Francesco Barbieri)
St Sebastian Succoured
1619
drawing (compositional study)
Royal Library, Windsor

Guercino (Giovanni Francesco Barbieri)
St Sebastian Succoured
1619
offset drawing (compositional study)
Metropolitan Museum of Art, New York

Guercino (Giovanni Francesco Barbieri)
Study of a Half-Length Female in the Guise of a Sibyl
1619
oil on canvas
Pinacoteca Nazionale di Bologna

"The painting was bequeathed to the museum by Sir Denis Mahon, who had acquired it in 1952.  It had previously belonged to William Douglas-Hamilton (1845-95), 12th Duke of Hamilton, who sold it in 1882, when it was bought by George Howard (1843-1911), later 9th Earl of Carlisle; it remained at Castle Howard, North Yorkshire, until its auction in 1944 from the estate of the Hon. Geoffrey W.A. Howard (1877-1935).  [Giuliano] Briganti published it as a study for the figure of Irene on the left of St Sebastian Succoured, known at the time only through copies.  According to Mahon, the unfinished preliminary oil study was subsequently transformed into an independent, saleable subject, a Sibyl, by replacing her sponge with a scroll and adding a book on the table over which she is bent."

Guercino (Giovanni Francesco Barbieri)
Return of the Prodigal Son
1619
oil on canvas
Kunsthistorisches Museum, Vienna

"In these canvases, Guercino's pre-Roman style is seen at is most vigorous.  Titian's colour and confident brushwork is blended with the Carracci's naturalism and softness of form.  So massive are the figures in relation to the picture space that they seem to burst forwards beyond their allocated space."

Anton Joseph von Prenner after Guercino
Return of the Prodigal Son
1733
engraving
Staatsgalerie, Stuttgart

Mauro Gandolfi after Guercino
Return of the Prodigal Son
ca. 1790
copy drawing
Museo del Prado, Madrid

Blasius Höfel after Guercino
Return of the Prodigal Son
ca. 1821-28
etching and engraving
British Museum

– quoted texts from The Paintings of Guercino: a revised and expanded catalogue raisonnĂ© by Nicholas Turner (Rome: Ugo Bozzi Editore, 2017)