Old Master drawings

I N T R O D U C T I ON
Press Communiqué:
OPENING SURINAME BLUE BLOOD IS BLACK BLOOD MUSEUM

EGMOND CODFRIED (Paramaribo, 1959), writer and publicist, is the inventor of the Blue Blood is Black Blood Theory (2005) that states that Europe between 1100 and 1848, was dominated by an elite, which was described as brown and black of complexion. He exhibits his collection of reproductions from often-unknown historical portraits that makes this museum the only one that concerns itself with the true looks of historical personages. Prince William I of Orange (1533-1518) was described as ‘More brown then white,’ and ‘brown of complexion and the beard.’ (Beresteyn, 1933: 1) Some of them, like William I of Orange, his father-in-law Maurice of Saxony, and Jane Austen (1775-1817) had, next to brown or black skin, also (strong) classical African facial traits: thick prognastic lips, and/or broad noses and frizzled hair; which once stood for pure noble blood: Blue blood. They were the descendents of the Blue Men, the black and brown original Europeans who came 45.000 years ago from Africa (Grimaldi Man). And part of which, between 1100-1200; declared themselves a nobility, and thus true Europeans. Intermarriage to remain black of complexion, and a noble lifestyle were both required. They self-styled as protectors against the Normans, civilised and christianised the white Europeans, who had only 6000 years earlier arrived from Central Asia, and who now became the Serfs which the nobility exploited. Typical for this lordship was the cruel way protest was dealt with, with executions by quartering, breaking of limps and disembowelling, and by throwing the intestines in the fire while still attached to the body. But the cruelest punishment must have been the public, live flaying. Therefore there existed a European trade in human skins till 1848, and these skins were industrially worked into bookbindings, clothing and even shoes for the elite. Church doors were lined with human skin, which fact shows that the exploitation of whites was regarded as the will of god. Theirs was a cast-society with the whites as outcasts. This information illustrates better why there was a need for a Declaration of The Rights of Man (1760), because the white Serfs asked their noble masters to be accepted as human beings. Then the Enlightened, Black high bourgeoisie ‘scientist,’ the intellectual elite, invented human races and placed the whites, the majority of the population, for strategic purposes; at the top of the evolutionary ladder, and the Moor all the way below, just above the great Apes. The Moor (Othello, Mr. Elton, Black Madonna’s, and the heraldic little Moors) symbolized nobility and Black Superiority. With this, they showed their true feelings for the high nobility with their ideas about Black Superiority.  The French Revolution (179-1794) initiated a change and brought the middling classes, the capitalist elite to power, but little changed for the poor working class people. Because of restorations like those by Napoleon, it took till the final revolutions of 1848, that the white Europeans were emancipated and the nobility lost it ‘privileges.’ Jane Austen was described as ‘brunette of complexion,’ and ‘a brown, not a pink colour’ and she made all her novel personages light brown, brown, very brown and black of complexion. She wrote against the change of status of the Black Elite. The Surinamese Governors and slave masters were members of this coloured or noble aristocracy. After 1848 history became revisionist, thus painted white. They created a fake, whitened history by using whitened, fashionable and propagandist portraits that were commissioned by the brown and black complexioned elite; who sometimes in real life painted themselves white or bleached their skins. The merit of the Blue Blood theory is deconstructing revisionism in history and deconstruction of Racism against Blacks, which was caused by the cruel, but civilising and christianising, oppression. Whites fear and hate Blacks because Blacks once ruled them. Racism is a liberation ideology. All unscientific theories about race and skull measuring etc. were invented to declare these Historical Blacks to be whites and thus hide Black Supremacy rule. This new museum, in a staircase of his home, with the blessing of Vestia Den Haag Zuid Oost, and only accessible by appointment; welcomes everybody, for which reason the entrance fee is only euro 1. The public can see portraits of Black Rulers and their Black Queens. There are reproductions of portraits of nobles and slave masters, which were never before shown publicly and are hidden in family- or scientific collections because of Black looks. There will be postcards and books for sale. This museum in The Hague will lead to the finding of a Suriname Museum of Black History in Suriname in 2013. bluebloodisblackblood.blogspot.com

Information. Egmond Codfried / 06427799
The Hague, 15 June 2012.

Ignazio Enrico Hugford (1703-1778) was a painter of English origin who was trained under Anton Domenico Gabbiani. As art dealer and connoisseur, he was among the most important collectors of works on paper in eighteenth-century Florence and had prolific and wide-ranging contacts throughout Europe. He was in close touch with Francesco Maria Niccolò Gabburri, and his correspondents also included Pierre Jean Mariette and Giovanni Gaetano Bottari. Among the over three thousand drawings bequeathed to his heirs and acquired in 1779 for the Uffizi by its director Giuseppe Pelli Bencivenni, one hundred and five sheets were attributed to artists of non-Italian schools. The attentive descriptions of Pelli’s inventory, the characteristic framing applied by Hugford and his inscriptions on some of the sheets have made it possible to identify almost all of these drawings, now in the Gabinetto Disegni e Stampe degli Uffizi. Research has also revealed Hugford’s talent as connoisseur, his interest in certain artists, and how Northern European drawings were regarded in the Florence of his time. This group includes sheets attributed to the Germans Dürer and Holbein, the Flemings Spranger and Lucas van Leyden, the French Callot and La Fage, and the Portuguese Francisco Vieira. Although many of these attributions are no longer acceptable, the identification of individual drawings has made it possible to confirm their authorship, and in some cases to suggest new attributions.

in «Notizie di pittura raccolte dal Padre Resta». Il carteggio con Giuseppe Ghezzi e altri corrispondenti, a cura di Maria Rosa Pizzoni, Roma, UniversItalia, 2018, pp. 107-128.
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Su padre Sebastiano Resta e Leonardo da Vinci si veda anche: https://www.academia.edu/49350830/_Vero_lume_il_Leonardo_e_i_Leonardo_di_padre_Resta

"Drawing Bodies and Passions of the Soul" is about how Dmitry's fragmentary compositions or, as he sometimes calls them, body-part images relate to drawing manuals that were printed in seventeenth-eighteenth-century Europe. "I didn't learn to draw from those manuals – my first independent series of drawings was abstract and influenced by Constructivism – but they had an influence on collages I make now: Odoardo Fialetti's Il vero modo et ordine per dissegnar tutte le parti et membra del corpo humano, De excellentia et nobilitate delineationis libri duo, Artis Apellae liber, Scuola perfetta per imparare a disegnare tutto il corpo humano, Stefano della Bella's I principii del disegno, Neu-vollständiges Reiß-Buch, Pieter de Jode's Varie figure academiche, 't Licht der teken en schilderkonst, Die durch Theorie erfundene Practic, Jahn's Zeichenbuch für Künstler und Liebhaber der freyen Handzeichnung, Luca Ciamberlano's Fondamento del latre de desegnia, Remondini's Prima elementa picturae, Charles-Antoine Jombert's Nouvelle methode pour apprendre a dessiner sans maître, and others like Charles Le Brun's Expressions des passions de l’âme (not entirely a drawing manual) which is referred to in the title of this show," explained Borshch, saying further, "Detached from religious, philosophical controversies of that time, by which these manuals were influenced, and art pedagogy then fashionable, my collages help me to essentialize their subjects, bare the not-readily-understood way they act through depiction of meaningful, striking gestures and vivid expressions."

Amongst the more than four thousand drawings of the collection of Count Charles Cobenzl, formed in Brussels between 1761 and 1768 and today mostly in the State Hermitage Museum in St Petersburg, are a number of small sheets kept under the name of Abraham van Diepenbeeck. The author clarifies their relationship to his oeuvre, identifying them as designs by different artists for in-text illustrations in books published in Antwerp in the second quarter of the seventeenth century. The history of these drawings, some of which were formerly in the celebrated drawings collection of the banker Pierre Crozat in Paris, throws light on the circulation of drawings in the eighteenth century. Moreover, it provides the first indications of the composition of the drawings collection of François-Ernest de Salm Reifferscheid, Bishop of Tournai, of which little was previously known.

On November 6, 1978, the Royal Library of Belgium purchased through the Amsterdam affiliated society of Sotheby's the drawing “the Kattenberghof in Antwerp with horsemen in front” of the hand of the Brussels artist Gillis Neyts. As this drawing after the war was traded several times by this auction house, there was no reason to suspect that the drawing on March 15, 1939 was stolen by the Sipo-SD (Sicherheitspolizei-Sicherheitsdienst) from Dr. Arthur Feldmann, a Jewish art collector from Brno in the Czech Republic today. The Royal Library of Belgium has refunded the drawing to its rightful heirs, represented by mr. Uri Peled Feldmann. The present text gives account of the historical context and the reasons for this refund.

L'articolo analizza il ruolo della matita rossa da parte di Leonardo e di alcuni suoi seguaci milanesi, evidenziando come le potenzialità espressive di questo nuovo medium grafico furono sfruttate in particolare negli studi di teste, un genere particolarmente diffuso a Milano nella cerchia del maestro. Sono discusse alcune attribuzioni ed è proposta la paternità di Giovanni Agostino da Lodi per alcuni studi di teste.

En este estudio se presenta un dibujo inedito de Pere Costa, conservado hoy en una coleccion particular. Se trata del proyecto de un retablo para el altar mayor de la iglesia parroquial de Santa Coloma de Queralt (Conca de Barbera, Tarragona), como indica una inscripcion autografa al pie del mismo. El analisis estructural, iconografico y heraldico del retablo fingido, que permite fijar su realizacion hacia 1745, va acompanado de reflexiones de caracter tipologico en funcion del espacio y de las necesidades cultuales que la obra tenia que satisfacer, en el caso de haberse construido.

My main research is titled blue blood is black blood (1100-1848)(2005) and states that Europe began as a Black, a North African civilization, but was whitened in 1848, when the Black elite gave power and citizenship, as well as human rights to the pinks or whites, immigrants of central Asia, who became a majority. These Blacks were for the meantime defined as black Caucasian, only externally degenerated, and given time to become light skinned or white, by marrying light skinned elites. Black Athena by Martin Bernal has become a important source, but he did not get at the thruth why history had to be whitened first, to make the transfer of power invisible. So, it remained a state secret till 2005, when I started writing and publishing about the brown and black faces of the European elite, royalty, nobility and bourgeoisie, of persons presented to us as whites. With my latest ouvrage titled Review of sources, I explore my scholarship and collected all pieces written from 2005, to show how my insight matured. The old pieces are amended by notes marked ; Marrakech, 2015. A researches does not simply copy sources, he mentions them and shows why there is a need for new research, where the old science fails. So, naming a source can lead to misunderstandings by the reader as often im my research a source is also a source for not giving certain information, for not asking a certain question, for not digging deeper. When Alison Macqueen wrote about; the Cult of Rembrandt in 19th century France, she forgot to mention that in order to arrive at a new esteathism, all old master portraits had to be restored, and the figures were over painted beige, pink and white: in order to give the pink majority, newly emancipated and given human rights and the right to vote: a history. As if they were always citizens of Europa, and founders of the European Civilization. They were not. Lately I realize that I am perceived as a heretic, and people try to purge science of my researches. The usb stick containing the first edition was purged at the Royal Library in The Hague, saying I tried to upload virusses. They deleted the whole publication, containing all the pieces I worked on in the same library for 10 years. A reconstruction of the lost publication by downloading of the beginnings of the articles, and when I tried to print, again raised an alarm. But I could print elsewhere whithout a hitch. Now I am banned for two years from the library on a ridiulous charge. But I can study noble culture in Morocco, and monitor the waging holocaust that will go wild in June 2015.

in Pierre Rosenberg et Louis-Antoine Prat (dir.), De David à Delacroix. Du tableau au dessin, Onzièmes rencontres internationales du Salon du Dessin, actes du colloque (30-31 mars 2016), Paris : Société du Salon du dessin / Dijon : L’Echelle de Jacob, 2016.

Leonardo's enduring fascination with water―from its artistic representation to aquatic inventions and hydraulic engineering.

Formless, mutable, transparent: the element of water posed major challenges for the visual artists of the Renaissance. To the engineers of the era, water represented a force that could be harnessed for human industry but was equally possessed of formidable destructive power. For Leonardo da Vinci, water was an enduring fascination, appearing in myriad forms throughout his work. In Watermarks, Leslie Geddes explores the extraordinary range of Leonardo’s interest in water and shows how artworks by him and his peers contributed to hydraulic engineering and the construction of large river and canal systems.

From drawings for mobile bridges and underwater breathing apparatuses to plans for water management schemes, Leonardo evinced a deep interest in the technical aspects of water. His visual studies of the ways in which landscape is shaped by water demonstrated both his artistic mastery and probing scientific mind. Analyzing Leonardo’s notebooks, plans, maps, and paintings, Geddes argues that, for Leonardo and fellow artists, drawing was a form of visual thinking and problem solving essential to understanding and controlling water and other parts of the natural world. She also examines the material importance in this work of water-based media, namely ink, watercolor, and oil paint.

A compelling account of Renaissance art and engineering, Watermarks shows, above all else, how Leonardo applied his pictorial genius to water in order to render the natural world in all its richness and constant change.

Techniken und Ästhetiken des Reflexionslichts in der Kunstliteratur um 1600 Walter Benjamins kurze Abhandlung Über die Malerei oder Zeichnen und Mal (1917) eröffnet mit einer provokanten Überlegung zum Wesen graphischer Linien, deren Charakteristikum für Benjamin-in Abgrenzung zu anderen Klassifikationen der Linie etwa als geometrisches Gebilde-ihre Beziehung zum Bilduntergrund darstellt; dergestalt, dass sich zeichnerische Linien und Untergrund stets reziprok zu einander verhalten. Lakonisch und ohne seinen Gedanken eine eingehendere Begründung folgen zu lassen schrieb er: Die graphische Linie ist durch den Gegensatz zur Fläche bestimmt. […] Die graphische Linie bezeichnet die Fläche und bestimmt damit diese, indem sie sich selbst als ihrem Untergrund zuordnet. Umgekehrt gibt es eine graphische Linie auch nur auf diesem Untergrunde, sodass eine Zeichnung, die ihren Untergrund restlos bedecken würde, aufhören würde, eine solche zu sein. […] Die graphische Linie verleiht ihrem Untergrunde Identität. 1 Der vorliegende Text entstand im Rahmen meiner vom Kunsthistorischen Institut in Florenz-Max-Planck-Institut geförderten Dissertationsschrift. Erste Ideen zum hier skizzierten Themenfeld konnte ich im Sommer 2016 am Zentralinstitut für Kunstgeschichte in München im Rahmen der von Claudia Steinhardt-Hirsch organisierten Tagung Drawing. Imagination and Perception vorstellen. Ich danke den Mitarbeiterinnen und Mitarbeitern des Kupferstichkabinetts der Hamburger Kunsthalle und des Kupferstichkabinetts der Staatlichen Museen zu Berlin, die mir bei der Recherche engagiert zur Seite standen.

Table of contents of the catalogue accompanying the exhibition "Raffael – Macht der Bilder. Die Tapisserien und ihre Wirkung" (June 6 – August 30 2020) in the Gemäldegalerie Alte Meister, Dresden.


Starting in 1515, Raphael created ten large-format cartoons commissioned by Pope Leo X, after which tapestries were woven for the Sistine Chapel. They show scenes from the lives of the two apostles Peter and Paul. Raphael's cartoons were used as models for other series–for reweavings–in the 17th century at the English tapestry manufactory in Mortlake. Also in Mortlake, the six tapestries of the Dresden set were woven; they later came into the possession of Augustus the Strong and thus to the Collection of the Gemäldegalerie Alte Meister in Dresden.
The exhibition catalogue  traces the genesis of Raphael's designs, devotes itself in detail to the Dresden series, and addresses the outstanding influence of the tapestries on subsequent artists up to the 19th century.

A study is a subcategory of drawing in which an artist tests elements that may not be worked out with the full clarity of a finalized composition. When such sketches depict fragments of bodies or forms in freefall with no contextualizing ground, they may, in hindsight, and with an awareness of the fate representations suffered during episodes of iconoclasm, look like depictions of images that have been attacked. Yet understanding these drawings as part of the process of making rather than as reminders of dismantlement encourages an appreciation of the range of theological possibilities afforded by views of figures that are incomplete or that fail to follow laws of pictorial orientation. This essay considers the syntactical laxity found in such studies against the scrutiny of Biblical grammar publicly exercised by Martin Luther and Andreas Karlstadt, for whom word order, conjunctions and modifiers were essential to understanding the meaning of scripture.

https://www.horti-hesperidum.com/show.php?item=228

L’ottavo fascicolo (IV, 2014, 2), curato da Francesco Grisolia, è intitolato Studi sul Disegno italiano tra Connoisseurship e Collezionismo e comprende contributi, riflessioni e novità sull’attività grafica di diversi artisti dal Rinascimento al Novecento, così come su collezionisti e nuclei di grafica. Connoisseurship e collezionismo dialogano e si intersecano in questa raccolta dedicata al disegno italiano. Per il Cinquecento sono presenti: Bernardino Luini, Aurelio Luini e Giovanni Paolo Lomazzo, di cui si esamina la pratica di firmare e annotare i disegni; il gusto per l’antico della scuola di Fontainebleau tra Rosso Fiorentino, Francesco Primaticcio e Léonard Thiry attraverso un foglio apparso sul mercato. Il disegno del Seicento si muove tra Firenze e Napoli: uno studio stilistico e iconografico che prende le mosse da un bozzetto di Lodovico Cardi detto il Cigoli e già ascritto a Francesco Curradi; un altro con novità sui disegni del napoletano Aniello Falcone. Sempre a Napoli ci conduce l’esame di un bozzetto su carta di Domenico Antonio Vaccaro e sul suo processo creativo. Sono presenti ricerche sulla raccolta del vicentino Pietro Stefanoni, antiquario-editore in rapporto con Cassiano dal Pozzo e Sebastiano Resta, e sul fondo di grafica del Museo Civico di Pescia, dove spicca la collezione del frate pittore Alberico Carlini da Vellano. Chiude il volume un’analisi sul disegno italiano a cavallo tra gli anni Sessanta e Settanta del XX secolo attraverso le idee e le opere di alcuni protagonisti.

This paper examines a series of works by Giuseppe Penone, titled 'Cambiare l’immagine' and executed in 1973, with the aim to highlight two closely related aspects that make it a peculiar work in the coeval Italian context and in the career of the Turinese artist: his relationship with the graphics of Leonardo da Vinci and the problem of figurative
drawing in Italian conceptualist art. The analysis starts from the work's
role at the 1976 exhibition 'Drawing / Transparence' and from its insertion in Penone's 1977 book 'Rovesciare gli occhi': these attestations allow to place the work within the poetics and the cultural references of the young artist. In this perspective, the analysis of the visual sources from the Windsor drawings by Leonardo in the series of six sheets, either collages or drawings, must be related to the works that since 1968 show the artist’s specific attention to this Old Master. The survey of the ways in which Penone uses these sources highlights the crucial passage of 1973, when the artist assumes the «conceptual» character of Leonardo’s draftsmanship to insert figuration and autography in his own works. Few years later a direct development of this processing results in the series of drawings of the air movements linked to the terracotta entitled Soffio, and included in the catalogue of the important exhibition of Penone set up in Essen in 1978. In this case Penone copies, assembles and reinvents the same Leonardo’s drawings, using traditional graphic techniques and stylisms, clarifying the reasons for adopting a specific language that legitimizes, as had already happened in nuce within Cambiare l’immagine, figurative drawing.

In occasione delle celebrazioni del cinquecentenario della morte di Raffaello Sanzio, il Castello Sforzesco di Milano rende omaggio a uno degli arteficii indiscussi del Rinascimento attraverso l'opera grafica e il collezionismo di Giuseppe Bossi (1777-1815). Il pittore ed erudito, che ricoprì il ruolo di Segretario dell'Accademia di Brera, fu animato da una profonda passione di raccoglitore e contribuì in maniera decisiva ad alimentare il mito del genio urbinate nella cultura lombarda, mediante la divulgazione del linguaggio e delle invenzioni del maestro. La prestigiosa raccolta di Bossi, confluita nelle collezioni civiche milanesi, permette ancora oggi non solo di constatare la fama scon nata di cui godette Raffaello nel tempo, attraverso differenti tipologie di manufatti artistici e di epoche comprese tra il XVI e il XIX secolo, ma anche ammirare quell'ideale di bellezza rinascimentale tanto caro all'estetica imperante tra la seconda metà del Settecento e l'età napoleonica.

Gli Autori rimangono a disposizione degli aventi diritto con i quali non è stato possibile comunicare. La bibliografia del presente volume è aggiornata alla consegna dei testi, avvenuta nel novembre-dicembre 2019. Solo ove è stato possibile gli Autori hanno integrato con aggiornamenti bibliografici più recenti. Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall ' art. 68, comma 4,

With contributions by Pietro C. Marani, Andrea Bernardoni, Edoardo Villata, Gary M. Radke, Philippe Sénéchal, Kelley Helmstutler Di Dio, Miriam Szőcs, Alison Luchs, Katherine May, Shelley Sturman, Eszter Sz. Bakonyi, Zoltán Kis, and Eszter Nagy. Ed. Zoltán Kárpáti, Budapest 2018. English 232 pp., 129 ills. ISBN978-615-5304-82-8. The collection of essays is devoted to the small bronze associated with Leonardo da Vinci in the Museum of Fine Arts, Budapest.

ITA
Nato da genitori inglesi e allievo di Anton Domenico Gabbiani, Ignazio Enrico Hugford (Firenze, 1703-1778), noto per la sua attività di collezionista, conoscitore e mercante d’arte, fu anche pittore molto attivo nella Firenze del Settecento. L’analisi della sua produzione grafica, sia attraverso fogli noti, ma in parte inediti, sia per mezzo di novità qui presentate, consente di gettare luce sul suo percorso artistico, sempre in stretto rapporto con le altre attività, tra cui quella di professore all’Accademia del Disegno. A partire dai disegni giovanili, con ritratti di condiscepoli e nudi accademici, passando per studi preparatori di diverso genere, di stili e tecniche anche molto distanti, e fino ai fogli della piena maturità, Hugford si rivela disegnatore eclettico, che guarda tanto a Gabbiani e al classicismo di stampo correggesco, quanto ad artisti di ambito tosco-romano (Cortona, Volterrano, Maratti, Luti, Morandi) a lui contemporanei o di poco anteriori, dei quali collezionava e vendeva disegni e dipinti.

FRA
De parents anglais et élève d’Anton Domenico Gabbiani, Ignazio Enrico Hugford (1703-1778) est principalement connu pour son activité de collectionneur, de connaisseur et de marchand d’art. Il fut aussi un peintre très actif à Florence durant le XVIIIe siècle. L’analyse de sa production de dessins, qu’il s’agisse de feuilles connues en partie inédites, ou de plusieurs nouveautés, permet d’éclairer son parcours artistique qui était étroitement lié avec ses autres activités, en particulier celle de professeur à l’Accademia del Disegno. De ses dessins de jeunesse (portraits de ses confrères et études de nus), en passant par des études préparatoires, stylistiquement et techniquement très variées, jusqu’aux feuilles de la pleine maturité, Hugford se révèle être un dessinateur éclectique. Il regarde aussi bien Gabbiani et le classicisme dérivant de Corrège, que des artistes du milieu tosco-romain de son époque ou légèrement antérieurs (Pietro da Cortona, Volterrano, Maratti, Luti, Morandi), dont il collectionnait et vendait par ailleurs les dessins et les tableaux.