Podcasts about Salvator Rosa

Rubrique:nouvelles Auteur: hippolyte-etiennez Lecture: Daniel LuttringerDurée: 1h17min Fichier: 54 Mo Résumé du livre audio: Une nouvelle historique romanesque sur les débuts du peintre Salvator Rosa (1615-1673). Cet enregistrement est mis à disposition sous un contrat Creative Commons.

On this episode we dive deep into the truths of global politics and power structures. From the complicity of the U.S. in the genocide of Palestinians to the deep-rooted connections between white supremacy and art, this episode is a powerful reflection on history and current events. Join Sergei and our guest, art historian Katherine Ruckle, as we explore how centuries of colonialism, racism, and war continue to shape our world. Katherine (she/her/hers) is a first generation college student who received her B.F.A in Art History in 2017 and her M.A. in Art History in 2019. Her in-progress dissertation on Salvator Rosa seeks to shed light on the novel ways in which the 17th century painter asserted his Neapolitan identity to create professional opportunities and inventive subject matter. This work considers the political circumstances of 17th century Italy in which Naples was colonized by the Spanish, raising crucial questions about how regionalism may have played a role in Rosa's fortunes as he navigated court and academic culture in Florence. Her paper "St. Wilgefortis: Considering Modern and Medieval Hirsute Audiences" received first prize for an Outstanding Paper by a Graduate Student at the Robyn Rafferty Student Research Conference and was distinguished with the Honorable Mention for the Garrard-Broude Prize for Feminist Art History. She has also been named an Edward Giuliano Global Fellow, supporting her research in Naples for her current project. In addition to writing, she is passionate about Art Education and has interned with Manifest Gallery, an educational outreach and gallery in Cincinnati, Ohio; with the Education Department for the National Museum of Women in the Arts in Washington, D.C.; and for the Education Department at the Walters Museum in Baltimore, MD.

Jay begins this episode with Paul Hindemith, who in 1921 combined his interest in ragtime with his love of Bach. There is also a minuet by Ravel, glancing back at Haydn. There is a song by Zemlinsky, setting Langston Hughes. There are wonders and curiosities in this episode—which, by the way, has a sponsor: Michael Lohafer, who, as Jay says, is “a particular authority on Mozart.” Mr. Lohafer says, “My sponsorship is on behalf of all attentive listeners to Music for a While who enjoy the well-considered selections that always delight the ear.” Bach, Fugue in C minor from “The Well-Tempered Clavier,” Book 1 Hindemith, “Ragtime (Well-Tempered)” Ravel, “Menuet sur le nom d'Haydn” Schumann, “Faschingsschwank aus Wien” Zemlinsky, “Afrikanischer Tanz” from “Symphonische Gesänge” Liszt, “Canzonetta del Salvator Rosa” from “Années de pèlerinage, deuxième année: Italie” Vasks, Dolcissimo from “The Book” Prokofiev, Sonata No. 7, Precipitato Martinů, Fantasia for String Quartet, Oboe, Theremin, and Piano Gounod, “Ah! lève-toi, soleil!” from “Roméo et Juliette” Tchaikovsky-Pletnev, Pas de deux from “The Nutcracker”

Un pittore che per secoli è stato disprezzato, per poi essere riscoperto, amato e addirittura considerato un precursore dai pittori romantici. Un po' come Michela, insomma. Nel quarto episodio di Gioconde, Michela Giraud, Maria Onori e Caterina Volpi, Ordinario di Storia dell'Arte all'Università Sapienza, ci portano nella Napoli del primo '600 alla scoperta di un artista dall'animo ribelle. Scopri tutti i look > https://bit.ly/look-gioconde-podcast-fw23

Episode No. 561 features author Helen Langdon and curator Erin Garcia. Langdon is the author of "Salvator Rosa: Paint and Performance," a new biography of the Renaissance painter and actor. The book explains Rosa's thirst for fame, his philosophical pursuits and how they melded with his painting, his acting career, and the ways in which his desire to be a celebrity often interfered with his ability to accomplish his career goals. The book was published by Reaktion and is distributed in the US by University of Chicago Press. Indiebound and Amazon offer it for $25. Garcia discusses "Chinese Pioneers: Power and Politics in Exclusion Era Photographs," which is at the California Historical Society in San Francisco through August 13. The exhibition offers a CHS collection-driven visual history of the social, political, and judicial disenfranchisement of Chinese Californians -- as well as portrayals of Chinese agency and resilience -- during the Chinese exclusion era.

https://www.uffizi.it/opere/salvator-rosa-marina-faro

Photo:  Salvator Rosa, Diogenes and Alexander @Batchelorshow #ClassicHJMackinder: Putin Pantomimes the Philosopher King. Professor H. J. Mackinder, International Relations.  #FriendsofHistoryDebatingSociety  (Originally aired 7-5-21). #HeartlandNation: Is Putin a Russian version of Plato's Philosopher King?  H. J. Mackinder, Professor of International Relations https://www.themoscowtimes.com/2021/07/01/putin-the-man-with-all-the-answers-a74396

Sobre Economia Política da Comunicação e da Cultura, do grupo de pesquisa Economia Política da Comunicação e da Cultura da Fundação Casa de Rui Barbosa. Autora do podcast: Carolina Venancio Magalhães, integrante do grupo de pesquisa EPCC/FCRB Episódio sobre o texto “Fosca, Maria Tudor e Salvator Rosa: um compositor entre o tradicionalismo e a inovação na ópera” da autora Mariana Franco, que faz parte do Ebook "O tecido social da Comunicação, da Cultura e da Informação", segundo volume da da coleção Comunicação Cultura e Informação que tem o selo EPCC, publicado em 2021 pela editora Meus Ritmos. Link do Ebook: https://e4e47cdb-2958-4c86-b975-30657abd4737.filesusr.com/ugd/ad71bb_f94b887aeb684ed4a0f0a213075df2bd.pdf Conheça o nosso grupo de pesquisa Site: https://pesquisaicfcrb.wixsite.com/epcc Canal no Youtube - EPCC Brasil: https://www.youtube.com/channel/ UC7niIPYHyPTpr24THJx-hiw/featured Página no Facebook - EPCC - Economia Política da Comunicação e da Cultura Instagram - @epcc.brasil

Salvator Rosa, włoski malarz, rytownik, poeta, satyryk i kompozytor, żyjący w epoce baroku, będzie bohaterem wykładu Eweliny Sobczyk-Podleszańskiej. Znany jest głównie jako autor scen rodzajowych z pustelnikami i włóczęgami na tle dzikich, romantycznych krajobrazów. Malował sceny batalistyczne i marynistyczne, poruszał też tematykę wanitywną. Był zdolnym grawerem i rysownikiem, na jego twórczość plastyczną wpływ mieli uczniowie Caravaggia. Salvator Rosa był również autorem kilku tomów zjadliwych satyr, a ponieważ zwykle pisał o ludziach znanych i możnych, jego twórczość przysporzyła mu wielu wrogów, m.in. skrytykował znanego architekta i rzeźbiarza Berniniego, który poprzysiągł mu zemstę. Artysta krytykował głównie ludzkie ułomności takie, jak rozrzutność, pychę oraz nikczemne obyczaje królów i możnowładców. Rosa uważany jest za prekursora romantyzmu w malarstwie, przez stulecia przylgnęła do niego opinia buntownika i rewolucjonisty. Cesare Pugni skomponował muzykę do baletu o nim, a także nakręcono film fabularny o jego życiu zatytułowany "Przygody Salvadora Rosy".

Empezamos nuestra andadura por el #LeoAutorasOct de 2021 con Sére Skuld, a la que también podéis escuchar en La Escóbula de la Brújula y Misterios y Cubatas. Pero, ¿quién es Sére Skuld? Sére es bruja del caos, cantante, música, artesana y performer. Se expresa a través de música ritualista y performance art inspirada en tradiciones remotas y realidades alternativas, complementándolas con la escritura, el modelado y la reproducción de piezas rituales y chamánicas. Miembro de la Academia de las Artes Escénicas, coautora del libro Salvator Rosa. Las pinturas brujas y colaboradora habitual del programa La Escóbula de la Brújula, Sére ha actuado e intervenido en teatros y espacios culturales como el Centro de Artes Escénicas SAROBE (País Vasco), el Círculo de Bellas Artes (Madrid) y el CCCB (Barcelona) entre otros. Su actividad artística ha tenido eco en diversos medios y publicaciones como RNE3, The Objective, VICE o Agente Provocador. Hildegard von Bingen. Las estrellas extinguidas nace como un inesperado y afortunado hallazgo de corte artístico e introspectivo. Doctora de la Iglesia, santa, mística, profetisa, compositora, naturalista y escritora son solo algunas de las facetas de Hildegard, una de las personalidades más notables de la Edad Media. Nos encontramos ante una ficción poética que recrea pasajes costumbristas basados en la biografía de la Sibila del Rin y plasma la evolución mágica y espiritual de la autora. Para estar al tanto de futuras actualizaciones, estas son las redes sociales a las que debes acudir: Twitter: @Vuelodelcometa Facebook: https://www.facebook.com/Vuelodelcometa Instagram: https://www.instagram.com/vuelodelcometa Twitch: https://www.twitch.tv/vuelodelcometa Web: alvaroaparicio.net Y si quieres apoyar este y otros proyectos relacionados: https://www.patreon.com/vuelodelcometa o a través del sistema de mecenazgo en iVoox. Han participado en este programa: Alex "Eldritch Horror", profesor en la Alcalá de Henares, en Instagram: @ariverovadillo y @kybergotisch en Twitter. Alberto "Láudano" Martínez: @NoviembreNoc en Twitter y @noviembrenocturno en Instagram. Su Twitch, por si queréis vernos en directo, es: https://www.twitch.tv/noviembrenocturno El bloque de intro y outro del programa fueron realizados por Luis Alberto Martín, locutor, actor de doblaje y voz y periodista: @lamartinvoz Arte de Sére Skuld.

"Rubriche d'aria” è a cura di Juan Pablo Macías e Alessandra Poggianti ed è uno dei canali di "On Air", il nuovo progetto di Carico Massimo, dedicato all'aria. Il nuovo appuntamento è con Juan Pablo Macías, Una anteprima di soffio vento uccelli di Juan Pablo Macías, un'opera realizzata durante la residenza a cura di Casa Sponge nel 2020.L'opera è composta da tracce audio di soffi che imitano il vento e il canto degli uccelli inviate dai cittadini di Pergola. I continui lockdown hanno, poi, reso necessaria una produzione del progetto a distanza, così si è esteso l'invito ad inviare le registrazioni dei soffi oltre i confini del borgo marchigiano.L'opera integrale si compone di un vinile con 4 brani mixati, in uscita ad aprile 2021 e verrà presentata a Pergola.«il progetto, sin dall'inizio, si è limitato all'uso minimo della parola: delle istruzioni e un recapito telefonico. Non c'è molto di più da dire, solo usate delle buone cuffie per l'ascolto…. »—Juan Pablo MacíasCourtesy di Casa Sponge e l'artista"Soffio Vento Uccelli" fa parte del progetto Non Solo Museo del Comune di Pergola, sostenuto da Regione Marche – Assessorato Beni e Attività Culturali e inserita nel programma di a,m,o, Arte, Marche, Oltre 2020. Soffi di: Elisabetta Brunori; Caterina ed Ermenegildo Ciccotti; Daniela Eusepi; Elisa Franco; Giorgia e Giovanni Gaggia; Giona Giampaoli; Natascia Giulivi; Azzurra Immediato; Giuseppe Mongiello; Aischa, Florian e Marion Müller; Riccardo Papalardo; Ilaria Pazzelli; Stefano Savi; bimbi della scuola dell'infanzia di Serra Sant'Abbondio e Frontone; Maria Pia Fratini; Paolo Ciarimboli; Mattia Galantini; Birgit Kiefer; Anna Mancini; Lea Pailloncy; Francesca Pataracchia; Duccio Reggiani; Paride Reggiani; Oliviero Reggiani; Marilena Ricci; Flora Rossi e Claudio Stefani. Prodotto da Non Solo Museo del Comune di Pergola, Casa Sponge a, m, o – Arte, Marche, Oltre. Data produzione: Ottobre 2020 e Gennaio 2021. Missato: Daniele Catalucci. Masterizazzione: Gabriele Bogi e Daniele Catalucci.Juan Pablo Macías (Messico, 1974). La sua opera è il risultato di una ricerca sull'anarchismo come critica della rappresentazione che assume diverse forme. Progetti editoriali, poesia, video, installazioni, performance, servono come supporto per documentare l'incontro tra sapere istituzionale e sapere insurrezionale. È editore della rivista Tiempo Muerto (2012) e word+moist press (2014). Co-fondatore di Salvator Rosa (2018) e presidente di Carico Massimo.

Mind the Gap: can the study of art in a museum context help young students with their own reading and then creative writing? Hello, my name is Rebecca Lefroy. I teach 7th, 8th and 9th grade at Lexington Christian Academy and am going to be talking about some research that I conducted in my previous school, in part for my Masters in Education. Although, as you can probably tell from my accent, I’m British, I was fortunate enough to actually do quite a lot of my growing up in Brussels and so completed the IB (International Baccalaureate) at an international school there. My experience of the IB was hugely positive; I thrived on the creative, holistic and interdisciplinary approach to teaching the arts. I was therefore rather surprised when I started my job as an English teacher in the UK and discovered that there are distinct gaps between the arts – we teach in different buildings; have completely distinct curriculums; and the subject names sit inside closed boxes on students’ timetables. I asked myself: why the gap? My interpretive case study therefore arose from two main perceived problems with our secondary English teaching: There seems to be a superficial gap between the arts subjects in secondary schools; Younger students tend to be taught a “checklist approach” to reading and writing rather than encouraged to view a text in a holistic way, exploring more abstract concepts. I wondered whether some of the more abstract concepts which younger students so struggle to grasp – for instance, perspective, symbolism and style- be taught through some other, perhaps more accessible, art form – such as art in an art museum? And could what is learned then be transferred back to the English classroom? I found Eilean Hooper-Greenhill’s (1999) approach to museum learning compelling – “the audience is always ‘active’, whether or not museums recognise this”. Furthermore, I was inspired by Cremin and Myhill’s (2012) argument that teachers should avoid formulaic recommendations when looking at students’ creative writing and instead see writing as a design process which encompasses both word and image. Similarly, Barrs and Cork (2001) take a more holistic view of creative writing and suggest that exposure to high quality literature can help students develop a wider repertoire of styles and a stronger sense of voice. Thus, I wanted to see whether learning about abstract concepts through art in an “active” environment as well as exposing students to high-quality literature that “plays” with design could push them in their own reading and writing. The Fitzwilliam Museum in Cambridge, UK was an excellent place to carry out the basis of my research and provided a very positive learning environment for the students. It’s a very grand building set right in the middle of the Cambridge colleges and they have a very extensive educational program. So, one afternoon, with about 20 grade 6 students in toe, we packed our bags and headed to the museum. We spent about 2 hours in the museum and through engaging, interactive activities, we explored how artists can use perspective, symbolism and style in their work and what effect this has on the viewer. For our work on perspective, we used Alfred Elnore’s On the Brink; for symbolism, Salvator Rosa’s L’Umana Fragilita (Human Frailty); and for style, Monet’s Springtime. Compared to being in an English classroom, the students were much more willing to share their ideas, admit mistakes and take risks in the art museum. Interestingly, they also had more confidence in interpreting art for themselves than they did a written text in an English classroom. Through follow-up interviews, I found that, for some, this was because they found art an easier form to analyse because of the framing of the piece – “it’s all there in front of us” one interviewee told me – and partly because they felt more empowered to express their own interpretations of the piece in an open art museum space without ...

Economics (Ancient Greek: ΟΙΚΟΝΟΜΙΚΑ; Latin: OECONOMICA) may not have been written by Aristotle. The author provides examples of methods used by the state to raise money including debt, currency devaluation, commodity controls, tariffs, sales tax, fines, violence and sacrilege. Translated by Edward Seymour Forster. Painting: Allegory of Fortune by Salvator Rosa. Recording and cover design by Geoffrey Edwards are in the public domain.

Nel Seicento, a Firenze, si produsse un'arte molto sontuosa ed elegante, in linea con i gusti della corte medicea che probabilmente all'epoca era la più raffinata d'Europa: uno dei massimi esponenti del Seicento fiorentino fu Jacopo Vignali. Artista molto versatile, nacque nel 1592 a Pratovecchio nel Casentino dove imparò i primi rudimenti, ma all'età di tredici anni si trasferì a Firenze dove entrò nella bottega di Matteo Rosselli: iniziò la sua carriera con opere dal tono classicheggiante, molto pacate e di semplice lettura, in accordo con lo stile del maestro. Nel corso degli anni però le diverse suggestioni, provenienti ora dal Cigoli, ora dai pittori caravaggeschi, ora da Salvator Rosa, determinarono l'evoluzione del suo stile, che mantenne però la sua caratteristica principale: la grandissima e raffinatissima eleganza che troviamo soprattutto negli abbigliamenti. Scopriamo i capolavori più belli di Jacopo Vignali con Ilaria e Federico!

Nel Seicento, a Firenze, si produsse un'arte molto sontuosa ed elegante, in linea con i gusti della corte medicea che probabilmente all'epoca era la più raffinata d'Europa: uno dei massimi esponenti del Seicento fiorentino fu Jacopo Vignali. Artista molto versatile, nacque nel 1592 a Pratovecchio nel Casentino dove imparò i primi rudimenti, ma all'età di tredici anni si trasferì a Firenze dove entrò nella bottega di Matteo Rosselli: iniziò la sua carriera con opere dal tono classicheggiante, molto pacate e di semplice lettura, in accordo con lo stile del maestro. Nel corso degli anni però le diverse suggestioni, provenienti ora dal Cigoli, ora dai pittori caravaggeschi, ora da Salvator Rosa, determinarono l'evoluzione del suo stile, che mantenne però la sua caratteristica principale: la grandissima e raffinatissima eleganza che troviamo soprattutto negli abbigliamenti. Scopriamo i capolavori più belli di Jacopo Vignali con Ilaria e Federico!

Episode 59 - The Colour Out of Space - Part 1 Listen on Patreon We're joined by excellent reader Andrew Leman as we view The Colour Out of Space! But this time we're not alone - we're joined by special guest Paul Maclean of Yog Radio! Show your love for site designer/webmaster Mike J. Mann and buy a tee shirt with our logo. Seriously - you'll look good! Check out some gorgeous art from At the Mountains of Madness: A Tribute to the Writings of H.P. Lovecraft at Gallery Nucleus. Ladies and gentlemen - it's HATEBEAK with their Lovecraftian death-metal anthem - The Think That Should Not Beak. Here's one of those bleak landscapes from Salvator Rosa. This is what a woodchuck looks like.

Episode 59 - The Colour Out of Space - Part 1 Listen on Patreon We're joined by excellent reader Andrew Leman as we view The Colour Out of Space! But this time we're not alone - we're joined by special guest Paul Maclean of Yog Radio! Show your love for site designer/webmaster Mike J. Mann and buy a tee shirt with our logo. Seriously - you'll look good! Check out some gorgeous art from At the Mountains of Madness: A Tribute to the Writings of H.P. Lovecraft at Gallery Nucleus. Ladies and gentlemen - it's HATEBEAK with their Lovecraftian death-metal anthem - The Think That Should Not Beak. Here's one of those bleak landscapes from Salvator Rosa. This is what a woodchuck looks like.

È possibile considerare Salvator Rosa come uno degli artisti più eclettici e più influenti della storia dell'arte: genio del Barocco, nato a Napoli nel 1615, trascorse una vita ribelle e fuori dai canoni, tanto che la sua figura ha assunto nel tempo tratti quasi mitici. Da pittore si cimentò in diversi generi: ci ha lasciato paesaggi, che anticipano il gusto romantico, scene di stregoneria che fornirono qualche suggestione a Goya, intesi ritratti e autoritratti, opere religiose di gusto caravaggesco, scene di battaglia che esplicitano la sua condanna nei confronti della guerra. E in più, fu anche poeta, cantante, musicista e attore: in definitiva un grande artista, versatile e moderno.

È possibile considerare Salvator Rosa come uno degli artisti più eclettici e più influenti della storia dell'arte: genio del Barocco, nato a Napoli nel 1615, trascorse una vita ribelle e fuori dai canoni, tanto che la sua figura ha assunto nel tempo tratti quasi mitici. Da pittore si cimentò in diversi generi: ci ha lasciato paesaggi, che anticipano il gusto romantico, scene di stregoneria che fornirono qualche suggestione a Goya, intesi ritratti e autoritratti, opere religiose di gusto caravaggesco, scene di battaglia che esplicitano la sua condanna nei confronti della guerra. E in più, fu anche poeta, cantante, musicista e attore: in definitiva un grande artista, versatile e moderno.

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

When Glover arrived in Hobart in 1831, the thirty-year conflict between the Tasmanian Aborigines and the European settlers was nearing an end. During this time George Augustus Robinson – the appointed Protector of Aborigines – had been relocating the majority of two hundred Indigenous people to Flinders Island. Only two months before he left Hobart for his new property of Patterdale in northern Tasmania, Glover made two group portraits showing twenty-six members of the Big River and Oyster Bay Aboriginal tribes before their transfer to Flinders Island. They became the subject of a number of significant paintings. Painted in 1832, the year of his move to Patterdale, A corrobery of natives in Mills Plains is Glover’s finest and probably earliest Aboriginal subject. Although the artist’s sketchbook contains a corroboree drawing for this landscape, he could not possibly have seen such an event on his property. As there were probably no Aborigines left in the area and certainly not enough to engage in a corroboree, the gathering is painted from his memory as well as his Hobart sketches. Of the artist’s numerous Aboriginal landscapes this is his first and his most moving and haunting, with its revelations of Glover’s sympathy for the departed Tasmanian Aborigines. Here he depicts an imagined re-creation of a corroboree within a romantic setting. The giant native tree, silhouetted against the sky, is bent and dying as the sun sinks, and so becomes a metaphor for the fate of the ancient race. Eight dancing and standing men holding spears, five seated women, two children and what appears to be an infant are gathered beneath the towering eucalypt. Dwarfed beneath the gum they appear almost to be ghosts of a former civilisation. Although Glover has taken possession of the land, it is not without some sense of guilt. And certainly, the theme of dispossession haunted Glover for the rest of his life as he re-created at least twenty such landscapes with Aborigines. Glover’s Patterdale paintings are ultimately based on the landscape devices of Claude Lorrain, Gaspard Dughet and, particularly, Jacob van Ruisdael. But in A corrobery of natives in Mills Plains the mysterious and ominous mood of the painting emulates the wildly romantic landscapes of Salvator Rosa and his depictions of wind-blasted trees and banditti (Italian outlaws). Finally the dusky and lurid sky echoes the highly romantic evening landscapes of Glover’s fellow countryman Joseph Wright of Derby. Though this is probably the first oil painting depicting Tasmanian Aborigines, Glover’s artistic forerunners in New South Wales had already painted night corroborees. Given the demise of the eighteenth-century concept of the ‘noble savage’ – which presented native people in light-filled arcadian paradises – it is not surprising that these images placed Indigenous peoples in a more ominous night light. Dances and ceremonies were presented as curious and heathenish while Indigenous people were represented as something to be feared and civilised by Christianity. Even so, the European settler’s envy is also expressed at their apparently happy and non-materialistic life. A corrobery of natives in Mills Plains can be seen as Glover’s valediction to a dying race. Traditions of European landscape art, romantic notions of the noble savage and his own Christian confidence in the face of paganism, enrich his melancholy testimony to the passing of a lively Aboriginal civilisation. Ron Radford Adapted from Ron Radford and Jane Hylton, Australian colonial art: 1800–1900, Adelaide: Art Gallery of South Australia, 1995, pp. 68–70.

Palmer’s landscapes are among the major achievements of the British genre in the first half of the nineteenth century. Though he was admired especially for his early intensely visionary landscapes, Palmer’s later work is more conventional, showing greater concern both for naturalism and looking to the acknowledged seventeenth-century masters of landscape painting. In Summer storm near Pulborough, Sussex black clouds have gathered, the wind has risen and driving rain is already falling, though there is a glimpse of distant sunshine. In the foreground a herdsman gestures to prevent his sheep stampeding off the road; his wife follows carrying a child on her back and beside her is an unhappy yet faithful dog. To the left, near a steadfast windmill and a ruined church, women scurry to retrieve their washing. At the edge of the darkness a horse-drawn wagon and a rider stoically proceed towards a farmhouse visible beyond the mill. Within the darkness, sunlight illuminates the travellers, the roadside stream and bridge. The streaming skirts of the woman, the flapping washing, flitting birds, waving trees and mounting clouds emphasise the force of wind and rain. In this way the artist builds and weaves tension and drama into his landscape. Palmer’s low-lying composition with its domineering clouds owes much to seventeenth-century Dutch Realism, which was a growing influence in the development of British landscape in the first half of the nineteenth century. Turner, Glover and Palmer himself, all of them loyal to the Italian landscape tradition, also relied on Dutch models for naturalistic depiction of weather. In its naturalism and weather effects, however, Palmer’s painting also owes much to Constable’s realism. Summer storm near Pulborough, Sussex is not only a study of weather. It is has religious resonances, pilgrims with their flock of sheep, possibly heading into a deluge. Palmer began his training in watercolour painting at the age of thirteen. While still in his teens, he met the landscape and portrait painter Linnell who introduced him to the prints of Albrecht Dürer and Lucas van Leyden and, in 1824, to the ageing visionary William Blake. Palmer was deeply religious and he began to paint small, almost biblical, dreams of a pastoral paradise. He became the leader of a group of young artists known as the ‘The Ancients’ who were devoted to the Blake’s work.1Palmer, even more than his fellow Ancients, deliberately turned his back on nineteenth-century progress. In 1837 Palmer married Linnell’s daughter Hannah and the couple embarked on what was to become a very influential two-year stay in Italy, where the artist fell under the spell of the past Roman landscape painters Gaspard Dughet, Nicolas Poussin, Salvator Rosa and, above all, Claude Lorrain. The influence of those masters, and of Italian scenery, was to remain with him for the rest of his life, filtered through the Romanticism of his great contemporary, Turner.2 Ron Radford 1 For a catalogue of works produced by Palmer and the Ancients, see Raymond Lister, Samuel Palmer and ‘The Ancients’, Cambridge: Fitzwilliam Museum & Cambridge University Press, 1984. 2 Ron Radford, Island to empire: 300 years of British art 1550–1850, Adelaide: Art Gallery of South Australia, 2005, pp. 268–71.