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Elenco di 426 articoli pubblicati da Tutt'Art@ durante il 2024

Questa raccolta inizia con l'ultimo articolo del 2024: "When was it decided that January 1st is the new year?" / "Quando è stato deciso che il 1° gennaio diventasse il primo giorno dell'anno?", pubblicato il 31 Dicembre 2024 e finisce con l'articolo dedicato al pittore impressionista Olandese René Jansen (1956-2022).

When was it decided that January 1st is the new year? 2024-12-31
Kike Meana, 1969 | Figurative painter 2024-12-29
Marlène Dietrich and Édith Piaf 2024-12-29
Vincent Van Gogh | Butterflies series2024-12-28

José Luis Corella, 1959 | Classical realism painter

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Gian Lorenzo Bernini | David, 1623-1624

David is one of the four sculptures executed by the young Gian Lorenzo Bernini (1598-1680) for Cardinal Scipione Borghese.
The artist worked on the statuary groups for the Villa on the Pincio for seven crucial years during which his brilliance, freedom, narrative bent, and delight in amazement blossomed and then developed in all their power.
The work had been commissioned from Bernini by Cardinal Montalto for his villa in 1623.
The cardinal’s untimely death blocked the commission, but Scipione Borghese decided to take it over.
Bernini interrupted his work on the Apollo and Daphne, dedicating himself to this new sculpture, which - according to Baldinucci, one of the artist’s first biographers - he finished in only seven months of work.

Gian Lorenzo Bernini | David, 1623-1624 | Galleria Borghese

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Janice Darr Cua | Ladies and horses

Whether exercising her powers to capture the spirit of Arabians, the romance of the Renaissance, classic sensuality of femininity, or the universal bond between mother and child, Janice Darr Cua delivers striking depth and passion.
Paintings that radiate a glow that mesmerizes the viewer, a comforting warmth which evokes the passion within all.
Her work can be seen in select galleries around the world, with over thirty sell-out shows abroad as well as dozens of American exhibitions.
Cua is a sure stock, an intelligent investment as her popularity, technique, and price point increases in favor.


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Rembrandt van Rijn | Woman with a Pink, early 1660

Her forehead crisscrossed with jewels, the sitter of this portrait displays a pink, or carnation, a symbol of love and marriage.
The gilt picture frame visible in the background locates her in a luxurious interior, but her pensive expression elevates the portrait beyond a mere statement of status.
If scholars are correct in identifying the sitter in the pendant portrait hanging next to this one as auctioneer Pieter Haringh, then the woman who appears here must be his wife, Elisabeth Delft. | Source: © Metropolitan Museum of Art

Rembrandt | Woman with a Pink, early 1660s | Metropolitan Museum of Art

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Beethoven | Heiligenstadt Testament, 1802

Il Testamento di Heiligenstadt è una lettera manoscritta del musicista tedesco Ludwig van Beethoven (1770-1827) indirizzata ai suoi fratelli Kaspar Karl e Nikolaus Johann, scritta il 6 ottobre 1802 a Heiligenstadt, un sobborgo di Vienna, dove il compositore aveva la residenza.
A soli 32 anni, Beethoven intuisce che la sua sordità sarà irreversibile.
I primi sintomi erano stati già individuati dal grande compositore tedesco nel 1796, cioè a 26 anni.

Joseph Karl Stieler | Beethoven with the Manuscript of the Missa Solemnis, 1820

Negli ultimi dieci anni di vita, il solo modo per comunicare era scrivere ogni cosa su taccuini dai quali non si separava mai.
Sono 139 i Quaderni di conversazione - materiale biografico intimo, grazie ai quali, oggi possiamo condividere la quotidianità, il lavoro creativo, la nascita della Nona Sinfonia e degli ultimi capolavori di Ludwig van Beethoven.

Il Testamento di Heiligenstadt non fu mai spedito: rimase per anni in un cassetto segreto della credenza insieme alla Lettera all’amata immortale e ad un dipinto di un volto femminile, mai identificato con certezza.
Fu ritrovato da Anton Schindler e Stephan von Breuning qualche giorno dopo la sua morte.

Testamento di Heiligenstadt
Heiligenstadt, 6 ottobre, 1802
Per i miei fratelli Carl e [Johann] Beethoven

O voi uomini che mi stimate o mi definite astioso, scontroso o addirittura misantropo, come mi fate torto!
Voi non conoscete la causa segreta che mi fa apparire a voi così.
Il mio cuore e il mio animo, fin dall’infanzia, erano inclini al delicato sentimento della benevolenza e sono sempre stato disposto a compiere azioni generose.

Considerate però, che da sei anni mi ha colpito un grave malanno peggiorato per colpa di medici incompetenti. Di anno in anno le mie speranze di guarire sono state gradualmente frustrate, ed alla fine sono stato costretto ad accettare la prospettiva di una malattia cronica (la cui guarigione richiederà forse degli anni o sarà del tutto impossibile).

Pur essendo dotato di un temperamento ardente, vivace, e anzi sensibile alle attrattive della società, sono stato presto obbligato ad appartarmi, a trascorrere la mia vita in solitudine. E se talvolta ho deciso di non dare peso alla mia infermità, ahimè, con quanta crudeltà sono stato allora ricacciato indietro dalla triste, rinnovata esperienza della debolezza del mio udito. Tuttavia non mi riusciva di dire alla gente: “Parlate più forte, gridate, perché sono sordo”.

Come potevo, ahimè, confessare la debolezza di un senso, che in me dovrebbe essere più raffinato che negli altri uomini e che in me raggiungeva un tempo un grado di perfezione massima, un grado tale di perfezione quale pochi nella mia professione sicuramente posseggono, o hanno mai posseduto.

No, non posso farlo; perdonatemi perciò se talora mi vedrete stare in disparte dalla vostra compagnia, che invece un tempo mi era caro ricercare. La mia sventura mi fa doppiamente soffrire perché mi porta ad essere frainteso. Per me non può esservi sollievo nella compagnia degli uomini, non possono esservi conversazioni elevate né confidenze reciproche.

Costretto a vivere completamente solo, posso entrare furtivamente in società solo quando lo richiedono le necessità più impellenti; debbo vivere come un proscritto.
Se sto in compagnia vengo sopraffatto da un’ansietà cocente, dalla paura di correre il rischio che si noti il mio stato.

E così è stato anche in questi sei mesi che ho trascorso in campagna. Invitandomi a risparmiare il più possibile il mio udito, quell’assennata persona del mio medico ha più o meno incoraggiato la mia attuale disposizione naturale, sebbene talvolta, sedotto dal desiderio di compagnia, mi sia lasciato tentare a ricercarla.

Ma quale umiliazione ho provato quando qualcuno, vicino a me, udiva il suono di un flauto in lontananza e io non udivo niente, o udiva il canto di un pastore e io ancora nulla udivo.
Tali esperienze mi hanno portato sull’orlo della disperazione e poco è mancato che non ponessi fine alla mia vita.

La mia arte, soltanto essa mi ha trattenuto!

Ah, mi sembrava impossibile abbandonare questo mondo, prima di avere creato tutte quelle opere che sentivo l’imperioso bisogno di comporre; e così ho trascinato avanti questa misera esistenza - davvero misera, dal momento che il mio fisico tanto sensibile può, da un istante all’altro, precipitarmi dalle migliori condizioni di spirito nella più angosciosa disperazione.

Pazienza - mi dicono che questa è la virtù che adesso debbo scegliermi come guida; e adesso io la posseggo.

Duratura deve essere, io spero, la mia risoluzione di resistere fino alla fine, finché alle Parche inesorabili piacerà spezzare il filo; forse il mio stato migliorerà, forse no, ad ogni modo io, ora sono rassegnato..
Dio Onnipotente, che mi guardi fino in fondo all’anima, che vedi nel mio cuore e sai che esso è colmo di amore per l’umanità e del desiderio di bene operare..

O uomini, se un giorno leggerete queste mie parole, ricordate che mi avete fatto torto; e l’infelice tragga conforto dal pensiero di aver trovato un altro infelice che, nonostante tutti gli ostacoli imposti dalla natura, ha fatto quanto era in suo potere per elevarsi al rango degli artisti nobili e degli uomini degni.


A facsimile of the Heiligenstadt Testament, 1802

The Heiligenstadt Testament is a letter written by Ludwig van Beethoven to his brothers Carl and Johann at Heiligenstadt on 6 October 1802.
It reflects his despair over his increasing deafness, even his contemplation of suicide, and his continued desire to overcome his physical and emotional ailments to complete his artistic destiny.
Beethoven kept the document among his private papers and probably never showed it to anyone.
It was discovered in March 1827, after Beethoven's death, by Anton Schindler and Stephan von Breuning, who had it published the following October.

Heiligenstadt Testament
Heiligenstadt, October 6,1802
For my brothers Carl and [Johann] Beethoven

O you men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me, you do not know the secret causes of my seeming so, from childhood my heart and mind were disposed to the gentle feelings of good will, I was even ever eager to accomplish great deeds, but reflect now that for six years I have been a hopeless case, aggravated by senseless physicians, cheated year after year in the hope of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible), born with an ardent and lively temperament, even susceptible to the diversions of society, I was compelled early to isolate myself, to live in loneliness, when I at times tried to forget all this, O how harshly was I repulsed by the doubly sad experience of my bad hearing, and yet it was impossible for me to say to men speak louder, shout, for I am deaf.

Ah how could I possibly admit such an infirmity in the one sense which should have been more perfect in me than in others, a sense which I once possessed in highest perfection, a perfection such as few surely in my profession enjoy or have enjoyed.

O I cannot do it, therefore forgive me when you see me draw back when I would gladly mingle with you, my misfortune is doubly painful because it must lead to my being misunderstood, for me there can be no recreations in society of my fellows, refined intercourse, mutual exchange of thought, only just as little as the greatest needs command disposition, although I sometimes ran counter to it yielding to my inclination for society, but what a humiliation when one stood beside me and heard a flute in the distance and I heard nothing, or someone heard the shepherd singing and again I heard nothing, such incidents brought me to the verge of despair, but little more and I would have put an end to my life.

Only art it was that withheld me!

Ludovic Alleaume | Beethoven listening to a muse, 1928

Ah it seemed impossible to leave the world until I had produced all that I felt called upon me to produce, and so I endured this wretched existence - truly wretched, an excitable body which a sudden change can throw from the best into the worst state.

Patience - it is said that I must now choose for my guide, I have done so, I hope my determination will remain firm to endure until it please the inexorable parcae to break the thread, perhaps I shall get better, perhaps not, I am prepared. Forced already in my 28th year to become a philosopher, O it is not easy, less easy for the artist than for anyone else.

Divine One thou lookest into my inmost soul, thou knowest it, thou knowest that love of man and desire to do good live therein.
O men, when some day you read these words, reflect that you did me wrong and let the unfortunate one comfort himself and find one of his kind who despite all obstacles of nature yet did all that was in his power to be accepted among worthy artists and men.


Andy Warhol | Ludwig van Beethoven, 1987 | Sotheby's

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Rembrandt's 'recipe for a stopping-out varnish'

Rembrandt's 'recipe for a stopping-out varnish' on the verso of a drawing 'Landcape with a River and Trees', 1654-55.

"..in order to etch, take white turpentine oil, and add half the turpentine to it; pour the mixture into a small glass bottle and let it boil in pure water for half an hour".

It is evident that Rembrandt refers (alas fragmentarily) to a so-called 'stopping-out varnish', used to terminate the bite of acid in select areas of a plate that had already been exposed to the etching agent.
Thus other portions will remain exposed to the acid to deepen the bite.


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Seven Colours of the Rainbow

A rainbow is an optical phenomenon caused by refraction, internal reflection and dispersion of light in water droplets resulting in a continuous spectrum of light appearing in the sky.
The rainbow takes the form of a multicoloured circular arc.
Rainbows caused by sunlight always appear in the section of sky directly opposite the Sun.
Rainbows can be caused by many forms of airborne water.
These include not only rain, but also mist, spray, and airborne dew.

Jean-Léon Gérôme | La République, 1848 | Musée des Beaux-Arts de la Ville de Paris, Petit Palais

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Eastman Johnson | Co-founder of the Metropolitan Museum of Art

Eastman Johnson (1824-1906) was an American painter and Co-Founder of the Metropolitan Museum of Art, New York City, with his name inscribed at its entrance.
Best known for his Genre paintings, paintings of scenes from everyday life, and his portraits both of everyday people, he also painted portraits of prominent Americans such as Abraham Lincoln, Nathaniel Hawthorne, Ralph Waldo Emerson and Henry Wadsworth Longfellow.
His later works often show the influence of the 17th-century Dutch masters whom he studied while living in The Hague, and he was even known as The American Rembrandt in his day.


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Francois Fressinier, 1968 | Figurative painter

Born in Cognac, France to scholarly portrait photographer parents with an affinity for aesthetics, it was fitting that modern figurative artist, François Fressinier, would develop a unique, enchanting style.
His father's admiration for the works of the Old Masters and his exposure to some of the world's most historic places, along with France's Gallo-Roman ruins and Gothic churches inclined François to explore and create figurative, symbolic artwork.
In addition, his education at the Ecole Brassart in Tours afforded him the opportunity to study the drawings and paintings of old and new masters.


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Eberhard Keil | Pupil of Rembrandt

Eberhard Keil or Keyl dit Monsù Bernardo (1624-1687) was a Danish Baroque painter who became a pupil of Rembrandt.
Keil was born in Helsingør.
According to the RKD he was a pupil of the Danish painter Morten Steenwinkel, who became a pupil of Rembrandt in Amsterdam in the years 1642-1644.


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Guy Hoff (1889-1962)

Born in Rochester, New York and trained at the Art School of the Albright Gallery in Buffalo and the Art Students League in New York City, Guy Hoff (1889-1962) is known for his cover pages for The Saturday Evening Post, McCall's and Ladies Home, among others, which often star young, beautiful women.
Guy Hoff is among the American painters who also used their talent to design illustrations for books, magazines and newspapers during the so-called 'Golden Age of American Illustration'.


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Konstantin Razumov, 1974 | Children's world

Konstantín Rázumov (Константин Разумов) is a Russian painter with a realistic-impressionistic tendency.
He began his studies in art and painting in the studio Ilyá Glazunov at the Academy of Fine Arts in Moscow.
Razúmov is faithful to early Impressionism; however, he adds some modern touches, which are most evident in his beautiful, charming, soft and sensual figures.


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Giovanni Boldini | Treccia bionda / Blonde Braid, 1891

Giovanni Boldini | Blond Braid, 1891

Based on its messy and impulsive pictorial style, "Treccia bionda" is generally dated to the beginning of the 1890s, by which point Giovanni Boldini (1842 -1931) had already moved to Paris.
In addition to serving as an example of Impressionist painting from that time, the faintness of the strokes showcases an in-depth knowledge of Frans Hals' chiaroscuro technique; it seems that Boldini may have become close with him during a trip to Amsterdam in 1876.
Unlike many of the artist's female portraits, in which the entire figure functions as a means of showcasing all the details of the protagonists' elegant and elaborate dresses, this painting limits the appearance of the figure to the bust.

Giovanni Boldini | Treccia bionda, 1891 (detail) | GAM - Galleria d'Arte Moderna di Milano

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Frida Kahlo to Diego Rivera | My night / La mia notte, 1939

Lettera di Frida Kahlo Diego Rivera,
Città del Messico, 12 settembre 1939
Mai spedita!

La mia notte mi strema.
Sa bene che mi manchi e tutta la sua oscurità non basta a nascondere quest’evidenza che brilla come una lama nel buio, la mia notte vorrebbe avere ali per volare fino a te, avvolgerti nel sonno e ricondurti a me.
Nel sonno mi sentiresti vicina e senza risvegliarti le tue braccia mi stringerebbero.
La mia notte non porta consiglio.
La mia notte pensa a te, come un sogno a occhi aperti.
La mia notte si intristisce e si perde.


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Giulio Da Vicchio | Post Macchiaioli painter

Giulio Rontini Da Vicchio (Vicchio di Mugello, 1925 - Livorno, 2004) was a renowned painter who mainly exhibited in Italy but also in Paris and Toronto.
He was the last representative of the Post-Macchiaioli painters.
He was considered the greatest representative of the Livorno painting of the late twentieth century.
Giulio Rontini was the son of the painter Ferruccio Rontini (1893-1964) and takes the stage name Da Vicchio to distinguish himself from his father.


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Skagen painters | Art History and Sitemap

The Skagen Painters (Danish: Skagensmalerne) were a group of Scandinavian artists who gathered in the village of Skagen, the northernmost part of Denmark, from the late 1870s until the turn of the century.
Skagen was a summer destination whose scenic nature, local milieu and social community attracted northern artists to paint en plein air, emulating the French Impressionists - though members of the Skagen colony were also influenced by Realist movements such as the Barbizon school.
They broke away from the rather rigid traditions of the Royal Danish Academy of Fine Arts and the Royal Swedish Academy of Arts, espousing the latest trends that they had learned in Paris.

Peder Severin Krøyer | Summer Evening at Skagen Beach - The Artist and his Wife, 1899 | Hirschsprung Collection