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Titel och upphov Italʹja︡nskaja︡ zivopisʹ i skulʹptura epochi barokko v sobranii Ermitaza, katalog vystavki = Italian Baroque paintings and sculptures from the collection of the Hermitage Museum, exhibition catalogue.
Varianttitel Italian Baroque paintings and sculptures from the collection of the Hermitage Museum, exhibition catalogue.
Utgivning, distribution etc. Slavija, Sankt-Peterburg : 2011.
Fysisk beskrivning 95 p. : 23 x 25 cm. ill. (chiefly col.) ;
Anmärkning: Allmän Utställning, Vystavocom centre, St. Petersburg, 30.9 2011 - 1.3 2012
Anmärkning: Bibliografi etc. Includes bibliographical references.
Anmärkning: Innehållsbeskrivning, sammanfattning Most of the paintings published in this Hermitage exhibition catalogue are from their reserves and are thus seldom seen; some have never been exhibited before. Their publication hence provides new material for the study of Italian art at a period when it was changing rapidly. The curators have selected some works by famous painters such as Caravaggio, Annibale Carracci, Bernardo Strocci, and Carlo Maratti; they have also culled significant works by less well-known artists (including the Caravaggisti) to give a balanced view of the art of the period. The works of sculpture from the Hermitage, whose collection of Italian works of the seventeenth and eighteenth century received its first impulse from Peter the Great and culminated under Emperor Paul In the 1790s with the acquisition of the Farcetti collection, are equally varied and on the same high level: Stefano Maderno, Bernini, Alessandro Algardi, for example. As they annotate the works, the authors point out various wellsprings of the Hermitage{u2019}s collection: the Henrich Brühl collection, the Robert Walpole collection, the Paris collection of Count Baudoin, the collection of Willem II, King of the Netherlands; the suburban imperial palaces in Pavlovsk, Pushkin and Gatchina,and, of course, treasure troves formed by Russian collectors as the Golitsyn Museum in Moscow, the possessions of the Yusupovs, Shuvalovs, Sheremetevs, and Stroganovs. Italian sculpture in the seventeenth and eighteenth centuries while keeping pace with architecture, did not display such diversity of styles and genres as painting did. The core consists of statues created in Rome between 1600 and 1750. They were bought by Russian agents and diplomats in Europe for the imperial collections and parks. Especially successful in this respect was Count Savva Vladislavich, better known as Raguzinsky in Russia. During his stay in Venice (1716{u2013}22) he purchased and shipped to St. Petersburg a great many statues and busts. At present most of them decorate the Summer Gardens there. Two other works, St. Teresa by a Roman master and Lapiths Fighting with Centaur by Francesco Bertos, subsequently found their way into the Hermitage. -- Summary written by John W. Emerich, Bronze Horseman Literary Agency.
Anmärkning: Språk In Russian with a summary in English.
Kronologisk term
Genre/Form
Institutionsnamn Gosudarstvennyj Ermitaz Utgivare
ISBN
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*24510$aItalʹja︡nskaja︡ zivopisʹ i skulʹptura epochi barokko v sobranii Ermitaza, katalog vystavki =$bItalian Baroque paintings and sculptures from the collection of the Hermitage Museum, exhibition catalogue.
*24631$aItalian Baroque paintings and sculptures from the collection of the Hermitage Museum, exhibition catalogue.
*260 $aSankt-Peterburg :$bSlavija,$c2011.
*300 $a95 p. :$c23 x 25 cm.
*300 $bill. (chiefly col.) ;
*500 $aUtställning, Vystavocom centre, St. Petersburg, 30.9 2011 - 1.3 2012
*504 $aIncludes bibliographical references.
*520 $aMost of the paintings published in this Hermitage exhibition catalogue are from their reserves and are thus seldom seen; some have never been exhibited before. Their publication hence provides new material for the study of Italian art at a period when it was changing rapidly. The curators have selected some works by famous painters such as Caravaggio, Annibale Carracci, Bernardo Strocci, and Carlo Maratti; they have also culled significant works by less well-known artists (including the Caravaggisti) to give a balanced view of the art of the period. The works of sculpture from the Hermitage, whose collection of Italian works of the seventeenth and eighteenth century received its first impulse from Peter the Great and culminated under Emperor Paul In the 1790s with the acquisition of the Farcetti collection, are equally varied and on the same high level: Stefano Maderno, Bernini, Alessandro Algardi, for example. As they annotate the works, the authors point out various wellsprings of the Hermitage{u2019}s collection: the Henrich Brühl collection, the Robert Walpole collection, the Paris collection of Count Baudoin, the collection of Willem II, King of the Netherlands; the suburban imperial palaces in Pavlovsk, Pushkin and Gatchina,and, of course, treasure troves formed by Russian collectors as the Golitsyn Museum in Moscow, the possessions of the Yusupovs, Shuvalovs, Sheremetevs, and Stroganovs. Italian sculpture in the seventeenth and eighteenth centuries while keeping pace with architecture, did not display such diversity of styles and genres as painting did. The core consists of statues created in Rome between 1600 and 1750. They were bought by Russian agents and diplomats in Europe for the imperial collections and parks. Especially successful in this respect was Count Savva Vladislavich, better known as Raguzinsky in Russia. During his stay in Venice (1716{u2013}22) he purchased and shipped to St. Petersburg a great many statues and busts. At present most of them decorate the Summer Gardens there. Two other works, St. Teresa by a Roman master and Lapiths Fighting with Centaur by Francesco Bertos, subsequently found their way into the Hermitage. -- Summary written by John W. Emerich, Bronze Horseman Literary Agency.
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