![]() Recent Acquisitions: A Selection, 2020–2022, v.80, no. Rosenheim, Joseph Scheier-Dolberg, Aude Semat, Femke Speelberg, Perrin Stein, Isabel Stünkel, Zhixin Jason Sun, Pierre Terjanian, Abraham Thomas, Thayer Tolles, Stephan Wolohojian. Pinson, David Pullins, Jessica Regan, Aaron Rio, Imani Roach, Jeff L. Orenstein, Diana Craig Patch, Amelia Peck, Jenny Peruski, Joanne Pillsbury, Stephen C. Miller, Iris Moon, Laura Filloy Nadal, Patricia M. Hyun, Shanay Jhaveri, Ronda Kasl, Wolfram Koeppe, Elizabeth Mankin Kornhauser, Alisa LaGamma, Sarah Lepinski, Pengliang Lu, Virginia McBride, Constance McPhee, Asher E. Herdrich, Alison Hokanson, Melanie Holcomb, Mellissa J. Garfinkel, John Guy, Navina Haidar, Medill Higgins Harvey, Stephanie L. Evans, Jennifer Farrell, Mia Fineman, Alice Cooney Frelinghuysen, Amanda B. Carpenter, Stephanie D’Alessandro, Clare Davies, Jayson Kerr Dobney, Ashley Dunn, Adam Eaker, Maryam Ekhtiar, Helen C. Bambach, Kelly Baum, Alexis Belis, Monika Bincsik, John Byck, Iria Candela, John T. Achi, Denise Allen, Niv Allon, Ian Alteveer, Carmen C. It is enlightening to find works so immediate in their appeal that their makers are revealed as individuals, even when their biographies remain obscure.Ĭontributions by Andrea M. One of the great strengths that artists of this period shared was their ability to engage their physical surroundings with unparalleled fluency, using skills they developed through rigorous academic training. Yet although they may have been among the most promising and sometimes even the most successful painters of their day, many of them have been all but forgotten. Several of these artists were recipients of the prestigious Prix de Rome, which enabled them to study in Italy under the auspices of the French government, and the majority of them showed their work at the Paris Salons. ![]() At the heart of the collection is a group of paintings by northern European artists who were drawn to Rome in the late eighteenth and early nineteenth centuries by the city's combination of antiquity and natural beauty. It is renowned, however, for its concentration of plein-air oil studies. The Whitney Collection encompasses the full scope of paintings that would have been found in a Parisian cabinet d'amateur in the first half of the nineteenth century, including portraits and historical and genre pictures. Rather, it came together by chance, as Whitney chose works purely on the basis of their quality, even when they bore incorrect attributions or none at all. This collection was not assembled with the intention of illustrating a complete and comprehensive history of a period or style. Assembled by the New York connoisseur Wheelock Whitney between 19, this remarkable collection underscores the role of the natural world as a source of inspiration for European artists living on the cusp of the modern epoch, and it provides ample evidence of a rich tradition of painting out of doors, en plein air, nearly a century before Impressionism. In 2003 the Metropolitan Museum acquired a collection of more than fifty paintings that represent a key period in European history, beginning in the 1780s with the advent of the French Revolution and concluding soon after the abdication in 1848 of France's last king, Louis-Philippe.
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