2 edition of Drawings after the antique by Amico Aspertini found in the catalog.
Drawings after the antique by Amico Aspertini
Phyllis Pray Bober
|Series||Studies of the Warburg Institute -- vol.21|
|Contributions||Aspertini, Amico., Warburg Institute., British Museum.|
|The Physical Object|
|Number of Pages||95|
Full text of "One Hundred European Drawings in The Metropolitan Museum of Art" See other formats. The latter possibility is strongly suggested by the strikingly close resemblance of the officer's pose to that of the nude warrior, seen from the back, on a sheet by Amico Aspertini with studies after an antique sarcophagus of Meleager's murder of the sons of Thestius (Fig. 16).
ANTIQUE ART AND THE RENAISSANCE. directly by the Monument of Lysicrates in Athens. Certainly, scholars and merchants did visit Greece, and drawings were taken back to Italy. A page from a Renaissance sketch-book. by Amico Aspertini. The quarto book of ‘animali coloriti’ (animal drawings in colour) which Michiel attributed to ‘michelino milanese’, identified as the painter and miniaturist Michelino da Besozzo (fl. - d. after ), would also have been a highly prized possession. 14 Drawn ‘ī cauretto’, signifying expensive and durable goatskin or vellum, it came from the hand of one of the most exalted Author: Peter Windows.
This page shows details of an item from the Catalogue of Illuminated Manuscripts. book-plate with an inscribed number 'From the Library of the Earl of Ashburnham Appendix no. LXIII May ' (see Yates Thompson 29). Drawings after the Antique by Amico Aspertini: Sketchbooks in the British Museum (London: Warburg Institute, ). By pure fortunate coincidence, visitors to the Uffizi Gallery this holiday period (up until January 6, ), will have the chance to admire the masterpieces of the museum’s permanent collection but also 3 additional exhibits!. For this reason, it is best to remind everyone that during the holiday season, the Uffizi Gallery will closed only on December 25th and 29th and January 1st, with a.
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Drawings after the antique by Amico Aspertini: sketchbooks in the British Museum. [Phyllis Pray Bober; Amico Aspertini].
Prices (including delivery) for Drawings After the Antique by Amico Aspertini by Phyllis Pray Bober. ISBN: Aspertini had recorded the Sant'Agnese's candelabra also in the Parma Codexpp.
80 and 84 (see Faietti-Scaglietticatt. dis. 4), and in Drawings after the antique by Amico Aspertini book drawings in Berlin (Kupferstichkabinett KdZ and KdZcatt.
89b and 91 in 'Amico Aspertini, artista bizzarro nell'età di Dürer e Raffaello', exh. Cat. Bologna ). Phyllis Pray Bober. Drawings after the Antique by Amico Aspertini; Sketchbooks in the British Museum. (Studies of the Warburg Institute, vol. ) London: The Warburg Institute, I xiv+io8 pp.
illustrations on 44 plates. This publication of the two sketchbooks by Amico Aspertini in the. "The figure of the shepherd on the upper tier [at far left] is probably Aspertini's invention, whereas the other drawings on both pages seem all to be recordings of statues originally in the Sassi collection in Rome and subsequently in the Farnese collection [Maarten van Heemskerck made a surviving drawing of the Sassi court with its sculptures].Left-hand page – the middle figure derives.
Three extant volumes of drawings after the antique together with scattered leaves from yet another sketchbook, by the Bolognese artist, Amico Aspertini, give an unusual opportunity to students of the relations between Renaissance and classical art.
One of the volumes dates from the beginning of the century, the other two from the s and later. They make it possible to assess the antiquarian.
Three extant volumes of drawings after the antique together with scattered leaves from yet another sketchbook, by the Bolognese artist, Amico Aspertini, give an unusual opportunity to students of the relations between Renaissance and classical art. One of the volumes dates from the beginning of the century, the other two from the s and later.
Amico Aspertini - Sketch-Book on Vellum (British Museum) Amico Aspertini Sketchbook - Inside front cover Sketches of antique figures and ornaments ca. drawings on vellum British Museum: Giorgio Vasari described Amico Aspertini (/) as, "an eccentric man of extravagant brain, whose figures, executed by him throughout all Italy.
Aspertini sketch-book (so-called London I): 17th opening left (,(17) verso) and right-hand page (,(18) recto) with statues in the Vatican: the Tiber: the sleeping Ariadne (left-hand page); and the Laocoon (right-hand page) c.
Pen and brown ink, over black chalk, on vellum rubbed unevenly with black chalk. Drawings after the antique by Amico Aspertini: sketchbooks in the British Museum / Phyllis Pray Bober Aspertini, Amico, [ Book: ] Languages: English;Undetermined, [1 other] At 6 libraries.
nungen nach der Antike von Amico Aspertini. PINGREE, DAVID: PICATRIX. The Latin Version of the Ghdyat al-Hakfm. 2 parts. In the press Volumes 3 of the STUDIES, listed overleaf, are obtainable in the original editions from E.J. Brill WARBURG INSTITUTE SURVEYS AND TEXTS 3.
WATSON, GEORGE: THE ENGLISH PETRARCHANS, A Critical. Drawings after the antique by Amico Aspertini: sketchbooks in the British Museum: Female Saint Holding a Book: Libro d'ore di Bonaparte Ghislieri: Libro intitulato Cronica, oue si tratta di epitaphii, di amore, e di virtute.
Composto per il magnifico Hieronimo Casio de Medici caualiero laureato, et del felsineo studio reformatore. Giulio Bonasone (c. – after ) (or Giulio de Antonio Buonasone or Julio Bonoso) was an Italian painter and engraver born in possibly studied painting under Lorenzo Sabbatini, and painted a Purgatory for the church of San Stefano, but all his paintings have been is better known as an engraver and is believed to have trained with Marcantonio Raimondi.
This page shows details of an item from the Catalogue of Illuminated Manuscripts. Drawings after the Antique by Amico Aspertini: Sketchbooks in the British Museum (London: Warburg Institute, ), Italian Renaissance Book Illuminationed.
by Jonathan J. Alexander (London: Prestel. Cambridge Core - Classical Art and Architecture - The Pantheon - edited by Tod A. Marder. She disparaged the mindless stylistic analysis (she called it "motive-hunting") searching instead for meanings of art in universal impetuses.
Her first book, Drawings after the Antique by Amico Aspertini (Studies of the Warburg Institute, ), is a clear example of this. Drawings after the Antique by Amico Aspertini: Sketches in the British Museum. By Phyllis Pray Bober. (Studies of the Warburg Institute) (now out of print). Shepard, K.
Rev. of Bober, Drawings after the Antique by Amico Aspertini Sherk, R. Rev. of Jagenteufel, Die Statthalter der r6mischen Provinz Dalmatia von Augustus bis Diokletian Simpson, W. The Vessels with Engraved Designs and the Repouss6 Bowl from the Tell Basta Treasure The bulk of the drawings used as evidence for the knowledge of classical works, and especially those gathered together or deliberately created as 'Sketchbooks after the Antique', date to the sixteenth century or later, from the celebrated Codex Escurialensis of c.
for the most part, through 'Bambaia' of c.Amico Aspertini, and the. Full text of "Fifteenth- and Sixteenth-Century Italian Drawings in The Metropolitan Museum of Art" See other formats.Drawings after the Antique by Amico Aspertini (pp.
–) By Phyllis Pray Bober Reviewed by Katharine Shepard. New Light on Washington’s Fort Necessity: A Report on the Archeological Explorations at Fort Necessity National Battlefield Site (p. ) By. A history of sculpture in painting. Antique sculpture was a major inspiration for artists from the Renaissance until the nineteenth century, and one of the great pioneers in its rediscovery was the Bolognese painter and occasional sculptor Amico Aspertini (–).
He is best known for a series of sketchbooks crammed with drawings of.