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#classicism

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Amsterdam_XXX
An almost perfect looking marble angel… 🪽

In 2018, the “Hermitage Amsterdam” hosted ‘Classic Beauties’, an exhibition on neoclassicism. Featuring over 60 works by 25 leading artists, it explored the influence of antiquity on 18th-century art. 😍

Until 2022 it hosted exhibitions featuring art from the “Hermitage” in Saint Petersburg but eventually, the ties with Russia were severed, due to the Russian aggression in Ukraine. By fall 2023, the museum was renamed to “H’ART Museum” ♥️ 🇺🇦 🕊️

#Amsterdam #classicism #18thcentury #classicbeauties #hanspetersom #amstelhof #exhibition #photo #urbanart #mokum #noir #xxx #art #history #stopthewar #bnw #photography #concretejungle #hartmuseum #heart #hart #neoclassicism #artiseverywhere #streetphotography #marmer # #beeld #wings #museum #museo #hermitage #arte #artwork #angel #blackandwhite #marble #18thcenturyart #stonecarving #escultura #sculpture
Sculpture at an expo in the former “Hermitage”, Amsterdam (2018).
#sculpture
Continued thread
Public
the roamer

#Plutarch #ParallelLives #Pericles 12/

For this reason are the works of Pericles all the more to be wondered at; they were created in a short time for all time.

Each one of them, in its beauty, was even then and at once antique; but in the freshness of its vigour it is, even to the present day, recent and newly wrought.

Such is the bloom of perpetual newness, as it were, upon these works of his, which makes them ever to look untouched by time, as though the unfaltering breath of an ageless spirit has been infused into them.

#Classicism #TheGoldenAge #Art

#TheBloomOfPerpetualNewness

#atimewheneverythingcomesnaturallytous

[Section 13]

Public
Hotspur🏳️‍🌈🇺🇦

"Vale (Farewell)," Arthur Hacker, 1913.

British painter Hacker (1858-1919) painted this toward the end of his career; was he sensing it was time to retire? Or, as some maintain, was he sensing the coming of the Great War?

There's not a lot of biographical info about him, other than he was the son of an engraver and was very much a classicist. He was known primarily for religious paintings and portraits. He was quite a success for his time, although now regard for his work has fallen. This canvas, though, has quite an impact, and he may warrant a closer look.

From a private collection.

A Classicist painting. Two women stand almost back-to-back, facing opposite directions, but one is reaching to the other. Both are draped in classical garments. They are in a dense, dark wood, and a passion flower lies fallen on the ground between them. The overall impression is of parting and regret.
#Art#BritishArt#ArthurHacker
Public
Hotspur🏳️‍🌈🇺🇦

"Landscape with a Calm," Nicolas Poussin, 1650-51.

Poussin (1594-1665) painted this as a companion piece to another painting, "Landscape with a Storm," which explains a few things. He was one of the great figures of the classical French Baroque period, and was known for his historical, religious, and mythical-themed works, which all had narratives and sent messages.

This painting comes from a time when he moved to doing landscapes without any story or message. Poussin did most of his work in Rome, and often took sketching trips up and down Italy to get ideas for his work. This may have been born from one or more of those sketches.

From the J. Paul Getty Museum, Los Angeles.

A Classicist landscape. In the foreground, a man is tending some goats grazing at the side of a lake. Behind him the lake stretches to meet a castle, lit by golden sunlight. Behind the castle, in the distance, rises a mountain. Despite the drama of the elements, the overall feeling is of serenity.
#Art#FrenchArt#Landscape
Continued thread
Public
Jim Wald

29 December 1832: Death of Johann Friedrich Cotta (b. 1764), greatest German #publisher of the era of #Classicism & #Romanticism.

The great formal portrait by Karl Jakob Theodor Leybold depicts him in the uniform of Vice President of the Second Chamber of the Württemberg Parliament, 1824.

He himself is said to have preferred the simple sketch portrait of him as publisher, reading a manuscript. It is noteworthy that he tended to describe his role as that of a "merchant."

@bookstodons

2/n

Postcard: the publisher and politician Jphann Friedrich Cotta (1764-1832) in a grand formal portrait by Karl Jakob Theodor Leybold (1824): Cotta, in the uniform of the Vice President of the Second Chamber of the Württemberg Parliament--blue waistcoat (trimmed in gold leaf pattern at collar and cuffs, with gold buttons), pants, and cape (with black trim), and high black boots--stands with his left hand holding the hilt of a ceremonial sword. His right hand rests on a table draped with a fringed red cloth with black accents. His tricorn hat and government papers are on the table, behind which a portion of green curtain is visible. In the background at right: trees and the mountain of one of his estates visible through a classical arch and balustrade. (o
A much simpler portrait but the one that Johann Friedrich Cotta (1764-1832) preferred. Unidentified nineteenth-century steel engraving: the middle-aged publisher, seen in profile, wearing a typical jacket and shirt of the Biedermeier era, scrutinizes a manuscript, the closeness of which to his face perhaps suggests both careful attention and declining eyesight. The simple back rail and one spindle of the chair in which he is sitting are visible at lower right. Facsimile signature below: JFCotta
Public
Jim Wald

29 December 1832: Death of Johann Friedrich Cotta (b. 1764), greatest German #publisher of the era of #Classicism & #Romanticism.

He revived the moribund family firm in Tübingen & recruited so many leading #authors that contemporaries called him the Napoleon of the #booksellers & spoke of the company's "monopoly on the classics" until the expiration of eternal publishing rights in 1867.

Schiller's journal Die Horen: cover of last issue, 1797; title page of 1st, 1795 1/n

@bookstodons

paper interim cover of final monthly issue of Friedrich Schiller's cultural journal, Die Horen (The Goddesses of the Seasons0). The design remained the same from the first issue (January 1795) to the last (December 1797, issued only in 1798): light pink paper, narrow vertical rectangular format. It is noteworthy that the front cover contains no text whatsoever. The title and issue were indicated only on the thin spine, a fragment of hich can be seen at lower left. The cover design consists of a series of rectangular frames: The outermost one is made filled with thin horizontal on the left and right sides portions, and horizontal ones on the top and botto, with a square containing four leaf patterns in each corner. The next frame is very narrow, filled with small circles, and the one after that, with a band of two offset dots. The largest, central frame is filled with asterisks or stars (each separated by two dots) in a diagonal (="diaper") pattern. Edges of untrimmed pages protrude at right
Title page of Schlller's monthly cultural journal, Die Horen (The Goddesses of the Seasons), January 1795: In Fraktur (German "Gothic" typeface; many contemporaries mocked Schiller's choice as regressive): Text (centered): Die Horen eine Monatsschrift herausgegeben von Schiller Erster Band. Tübingen in der J G. Cottaschen Buchhandlung 1795. Tübingen im
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