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Titre : Gazette des beaux-arts : courrier européen de l'art et de la curiosité
Éditeur : Gazette des beaux-arts (Paris)
Éditeur : G. WildensteinG. Wildenstein (New York)
Éditeur : Gazette des beaux-artsGazette des beaux-arts (New York)
Éditeur : Gazette des beaux-artsGazette des beaux-arts (Paris)
Date d'édition : 1930-01-01
Contributeur : Blanc, Charles (1813-1882). Directeur de publication
Contributeur : Reinach, Théodore (1860-1928). Directeur de publication
Contributeur : Wildenstein, Georges (1892-1963). Directeur de publication
Contributeur : Wildenstein, Daniel (1917-2001). Directeur de publication
Notice du catalogue : http://catalogue.bnf.fr/ark:/12148/cb343486585
Notice du catalogue : https://gallica.bnf.fr/ark:/12148/cb343486585/date
Type : texte
Type : publication en série imprimée
Langue : français
Format : Nombre total de vues : 86102
Description : 01 janvier 1930
Description : 1930/01/01 (A72,T3)-1930/06/30.
Description : Collection numérique : Originaux conservés à l'INHA
Droits : Consultable en ligne
Droits : Public domain
Identifiant : ark:/12148/bpt6k61119501
Source : Bibliothèque nationale de France
Conservation numérique : Bibliothèque nationale de France
Date de mise en ligne : 01/12/2010
Le texte affiché peut comporter un certain nombre d'erreurs. En effet, le mode texte de ce document a été généré de façon automatique par un programme de reconnaissance optique de caractères (OCR). Le taux de reconnaissance estimé pour ce document est de 97%.
ENGLISH SUMMARY
Quattrocento of Siena. One ol the most remarkable of thèse is the Crucifixion lent by Lord Muir Mackenzie and attributed to Niccolo Semitecolo.
Among the paintings of the Quattrocento must be mentioned the Virgin and Child by Fra Angelico and the Virgin and Child by Domenico Veneziano.
Pesellino was seen under a new light tlianks to the following paintings in the Exhibition: the Triu/uphs of David and Sauf the Saint Sylvester, the Anuunciation, the History of Saint Giulitta and of lier son Cyriac. The same can be said of Piero délia Francesca.
Among the Northern painters of the Quattrocento Mantegna was remarkably well represented ; the same is true of Piero di Cosimo, whose Battle 0/ the Centaurs and Lapithae attracted particular attention.
The Cinquecento was represented by several productions attributed to Giorgione and by a magnificent séries of paintings by Titian.
As regards the school of Milan, the chiel interest was aroused by the works of Lconardo da Vinci and Ambrogio da Prédis.
Among the Northern painters Corregio did not hâve the place lie. deseiwes ; his Virgin with Child and Saints was particularly noticed.
Very few paintings of the 17"' and 18"' centuries called lor any spécial mention, except a remarkarble Head of a Womau, attributed to Orazio Gentileschi.
'There were a few little known spécimens ol 18" 1 century work, such as the View of San Michèle from the Fondamente Nitove and the Views of London, by Canaletto.
The drawings, with a few rare exceptions, were of the finest quality and undoubtedly authentic. Few were unknown like the Navicella by Giotto, the Saint Anthony Abbot, attributed to Bellini, Ice on the Lagoon, by Guardi, which, although not particularly significant, is of great historical interest.
GLASS CUT WITH A DIAMOND
by M1"" MARIANNE PELLIOT
Glass can be eut with the help of various kinds ol stone: llint, corundum, quartz, diamond, etc., and it is difficult to détermine which stone lias been used.
Ancient writers and, generallv speaking, ail authors prior to the 19"' century do not provide much inlormation on this kind of décoration.
Fortunately we h ave the glass-work. Ever since the existence of glass man lias always tried to mark his name on a usual or ritual object by scratching it with a pebble. It would be idle to try to détermine in which country chance First gave rise to thèse scratchings. Ail we can do is to mention some ofthe spécimens in the possession of European Muséums, which may perharps hâve been eut with a diamond. More- ver, from the point of view of art, this style o/'
décoration only becomes interesting when, instead of simple letters, we hâve variée! subjeets which are sometimes mythological or biblical, and usually borrowed from the kingdom ol plants or animais.
The Louvre possesses a magnificent spécimen lound in 1884 at Abbeviile, common of Homblièrcs, in a tomb.
Without it being possible to détermine exactly what tool was used, it may be asserted that the work in no way rcsembles diamond cutting and that it was entirely donc with one single tool, which was not a grind-stone; there are 110 traces of wide and sUghtly cooped out furrows, which would certainly hâve been lelt liy a grind-stone.
'The Homblières cup bears a more or less