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Antoine Watteau: The Italian Comedians  wikidata:Q20177791 reasonator:Q20177791
Umetnik/izdelovalec
Antoine Watteau  (1684–1721)  wikidata:Q183221 s:en:Author:Jean-Antoine Watteau q:et:Antoine Watteau
 
Antoine Watteau
Nadomestna imena
Jean-Antoine Watteau
Opis francoski slikar, grafik, risar, umetnik, tiskarski grafik in arhitekturni risar
Datum rojstva/smrti 10. oktober 1684 Uredite to v Wikipodatkih 18. julij 1721 Uredite to v Wikipodatkih
Kraj rojstva/smrti Valenciennes Uredite to v Wikipodatkih Nogent-sur-Marne Uredite to v Wikipodatkih
Obdobje ustvarjanja 1700 Uredite to v Wikipodatkih–1721 Uredite to v Wikipodatkih
Kraj ustvarjanja
Pariz (po letu 1702
date QS:P,+1702-00-00T00:00:00Z/7,P1319,+1702-00-00T00:00:00Z/9
), Valenciennes (1709-1710), London (1719-1720)
Normativna kontrola
artist QS:P170,Q183221

Details on Google Art Project
image of artwork listed in title parameter on this page
Naslov
angleščina:
The Italian Comedians

The Italian Comedians
title QS:P1476,en:"The Italian Comedians"
label QS:Len,"The Italian Comedians"
Vrsta objekta slika
object_type QS:P31,Q3305213
Zvrst žanrski prizor Uredite to v Wikipodatkih
Datum probably 1720
Medij olje na platnu
medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
olje na platnu
medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
Velikost višina: 638 mm; širina: 762 mm
dimensions QS:P2048,638U174789
dimensions QS:P2049,762U174789
institution QS:P195,Q214867
Inventarna številka
1946.7.9
Zgodovina predmeta

Possibly commissioned by Dr. Richard Mead [1673 1754], London; (his estate sale, Langford, London, 20 22 March 1754, 3rd day, no. 43, paired with no. 42, A Pastoral Conversation); Alderman William Beckford [1709 1770], London and Fonthill, Wiltshire, or his brother, Richard Beckford [d. 1756], London.[1] Roger Harenc [d. 1763], London;[2] (his estate sale, Langford, London, 1 3 March 1764, 3rd day, no. 52, a pair with A Musical Conversation [each day's lots begin with no. 1]); Augustus Henry, 3rd duke of Grafton [1735 1811], Euston Hall and London. acquired between 1851 and 1857 by Thomas Baring [1799 1873];[3] by inheritance to his nephew, Thomas George Baring, 1st earl of Northbrook [1826 1904], London; (Asher Wertheimer, London); purchased 1888 by (Thos. Agnew and Sons, Ltd., London); sold the same year to Edward Cecil Guinness, 1st earl of Iveagh [1847 1927], Elveden Hall, Suffolk, and Iveagh, County Down;[4] by inheritance to his third son, Walter Edward Guinness, 1st baron Moyne [1880 1944], London. Baron Heinrich Thyssen Bornemisza [1875 1947], Schloss Rohoncz, Rechnitz, Hungary, and Amsterdam, by 1930; (Wildenstein & Co., Inc., Paris, New York, and London), by c. 1936;[5] purchased 1942 by the Samuel H. Kress Foundation, New York; gift 1946 to NGA.


[1] See Robert Raines, "Watteau and 'Watteaus' in England before 1760," Gazette des Beaux Arts 51 (February 1977): 62, for a discussion of which Beckford might have purchased the painting. William was his brother Richard's heir, and although William always resided in England, Richard lived mostly on the family's plantations in Jamaica. He only lived in London from late 1754 until late the next year, and he died in France early in 1756. If Richard owned the painting, it might possibly have been part of the "useful and ornamental furnishings" of his London house that were sold by his executors in April 1756 to Sir James Colebrooke, whose name is sometimes included in the provenance. See F.H.W. Sheppard, Survey of London, vol. 33, The Parish of St. Anne Soho, London, 1966: 89, for details about ownership of the house by Beckford


and subsequent purchasers.

[2] Sometimes spelled "Harene." The title page of the 1764 sale catalogue clearly spells the name with a final "c." If this is the same Roger Harenc whose daughter, Susanna Mary Harenc, married Sir Archibald Edmonstone, 1st baronet Edmonstone, Harenc appears to have been born in Paris, came to England in the early 1720s, married an Englishwoman, and prospered in business. He is recorded as the buyer of Watteau paintings in sales in England in the 1740s and 1750s.

[3] Gustav Friedrich Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Manuscripts, 3 vols. and Supplement, London, 1854 and 1957: Supplement(1957): 96 97, records acquisitions to the Baring collection since his visit in 1851.

[4] See Richard Kingzett of Agnew, letter to Colin Eisler, 21 November 1968, NGA curatorial files: "[W]e bought the picture from the famous dealer, Wertheimer, in 1888 and sold it to Lord Iveagh in the same year. No provenance is given in our entry for the picture." Later references identify the Wertheimer as Asher, rather than his brother Charles, who was also an art dealer.

[5] Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 304 and n. 48, on the basis of a remark in René Gimpel, Journal d'un collectionneur, marchand de tableaux, Paris, 1963: 275, assumes the painting was with Wildenstein in 1924. However, this is discounted by Joseph Baillio of Wildenstein (see A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection, Exh. cat. North Carolina Museum of Art; The Museum of Fine Arts, Houston; The Seattle Art Museum; Fine Arts Museums of San Francisco; New York, 1994: 210 n. 3). The provenance supplied by Wildenstein to the Kress Foundation (NGA curatorial files) incorrectly lists Walter Guinness and Lord Moyne as separate individuals and places the Thyssen Bornemisza ownership between them, but it does not indicate the company had the painting more than once.
Opombe More info at museum site
Sklici
Vir posnetka/fotograf fQHyFQRBSQLiyg at Google Cultural Institute maximum zoom level
Druge različice
Remastered color

Licenca

To je zvesta fotografska reprodukcija izvornega dvorazsežnega umetniškega dela. Samo umetniško delo je v javni domeni iz naslednjega razloga:
Public domain

Avtor je umrl leta 1721, zato je to delo v javni domeni tudi v državah in na območjih, kjer trajajo avtorske pravice za časa avtorjevega življenja in še 100 let ali manj po tem.


Delo je v Združenih državah Amerike v javni domeni, saj je bilo objavljeno (ali registrirano pri Uradu za avtorske pravice ZDA) pred 1. januarjem 1929.

Uradno stališče Fundacije Wikimedija je, da so »zveste reprodukcije dvorazsežnih del v javni domeni in da so nasprotne trditve napad na samo pojmovanje javne domene«. Podrobnosti so na razpolago na strani Commons:When to use the PD-Art tag.
V javni domeni je torej tudi ta fotografska reprodukcija. Zaradi krajevnih zakonov je v nekaterih jurisdikcijah uporaba prikazane vsebine lahko tudi prepovedana ali omejena. Glej Commons:Reuse of PD-Art photographs.

Napisi

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The Italian Comedians (c. 1719–1721). National Gallery of Art, Washington, D.C.

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The Italian Comedians angleščina

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