The Context Problem

In the minute investigation of old oil canvases, modern art restorers use a technique called rigatino to fill in where flecks of paint are damaged or missing. These fine hatch marks, made with thin paint, signal to later scholars and restorers what constitutes the restorer's work while fully maintaining the distinctiveness and integrity of the original artist's brush strokes. In other words, restorers have devised a straightforward method to indicate the exact positions of evidentiary lacunae and to mark the impositions of their own hand amidst the work of old masters. Unlike the superscripts of footnotes amidst a printed text, rigatino blends with the original picture, though upon close investigation it is always distinct.

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West European Art from the Point of View of the Academy of Arts’ Pensioners of the Second Half of the 18th Century (the Problems of Interpretation)

Observatory of Culture ◽

10.25281/2072-3156-2015-0-5-57-61 ◽

2015 ◽

pp. 57-61

Author(s):

Oksana L. Tereshkina

Keyword(s):

18Th Century ◽

Modern Art ◽

Point Of View ◽

The West ◽

Personal Attitude ◽

Old Masters ◽

West European

Studying of the interpretation of the West European art by the pensioners of the Academy of Arts is an analysis of the interpretation’s components: the choice of art directions, styles and schools; the preference of their personal attitude; the assessment of a specific piece of art; the terminology as an indicator of their either professional or amateur position. The choice of art directions depended on the system of art views existing in the Academy of Arts in the second half of the 18th century. The Academy focused the attention of its students on the art of Antiquity, Renaissance and Classicism. Nevertheless, the pensioners spoke well on the works of Baroque. They used to prefer the art of old masters to the modern art. The specialization of a pensioner illustrated their assessment of the masterpieces. The professional terminology helped to make the description and assessment. The advent of treatises on the art in Russia made possible using the terminology.

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Old Masters versus Modern Art in Parisian Auctions

Old Masters Worldwide ◽

10.5040/9781501348174.ch-005 ◽

2021 ◽

Author(s):

Léa Saint-Raymond

Keyword(s):

Modern Art ◽

Old Masters

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Agnew’s: From Modern Art to Old Masters

Old Masters Worldwide ◽

10.5040/9781501348174.ch-006 ◽

2021 ◽

Author(s):

Barbara Pezzini

Keyword(s):

Modern Art ◽

Old Masters

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Ludomir Sleńdziński’s Trips to Italy 1923–1925

Roczniki Humanistyczne ◽

10.18290/rh.2019.68.4-4en ◽

2019 ◽

Vol 67 (4 SELECTED PAPERS IN ENGLISH) ◽

pp. 81-101

Author(s):

Katarzyna Nowakowska-Sito

Keyword(s):

Modern Art ◽

Fine Arts ◽

Personal Contact ◽

Final Shape ◽

Stylistic Elements ◽

Polish Version ◽

Old Masters ◽

Polish Art ◽

Main Representative ◽

Mature Work

The Polish version of the article was published in Roczniki Humanistyczne vol. 60, issue 4 (2012). Ludomir Sleńdziński was the main representative of classicism in Polish art in the period between the two World Wars. The article discusses his two trips to Italy in 1922/24 and 1924/25. They have not been yet researched in the context of the origin and character of his work, albeit impulses coming from Italy were thought to have been an important catalyst for the birth of the so-called “return to order.” Sleńdziński was Dmitry Kardovsky’s student at the Academy of Fine Arts in Sankt Petersburg, and it was in his class that he acquired a worship of the old masters and a perfect command of his trade, first of all perfect drawing skills. Apart from the Sankt Petersburg school, classicist trends came to Polish art from Paris where they were first noticed in the circles connected with the Museion magazine (1911-1913) and among artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Żak. In the article, I reconstruct Sleńdziński’s tour of Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of the 3rd Roman Biennale. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs. In conclusion it must be said that Ludomir’s trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists of similar outlook) and determined the final shape of his mature work.

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John Singer Sargent, collector of modern art

Journal of the History of Collections ◽

10.1093/jhc/fhaa030 ◽

2020 ◽

Author(s):

Michele Amedei

Keyword(s):

Close Relationships ◽

Modern Art ◽

Works Of Art ◽

Old Masters ◽

Shed Light

Abstract The aim of this essay is to shed light on John Singer Sargent, the greatest American Impressionist in Europe at the turn of the nineteenth to twentieth centuries, as a collector of modern art. With the exception of a group of works by Old Masters such as Tintoretto and Giovanni Domenico Tiepolo, the American artist’s collection was, in fact, principally composed of contemporary works of art, most of which were by Italian painters, with several of whom Sargent enjoyed more or less close relationships. Sargent’s collection, sold at Christie’s on 24–7 July 1925, contained works by artists such as Giovanni Boldini, Alberto Falchetti, Ambrogio Raffele, Domenico Morelli and, in particular, Antonio Mancini – the last said to have been called by Sargent ‘the greatest living painter’, so overwhelmed was he by his friend’s virtuosity with the paintbrush.

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