User:Victoriaearle/Art sandbox


 * sandboxed Durer's parents
 * Petrus Christus


 * stopped here

van der Weyden & Netherlandish

 * Harvard medieval manuscripts
 * Medieval manuscripts
 * van der Weyden
 * women reading
 * Privacy & Print search results
 * Haskins, Susan. Mary Magdalen.
 * MM: image of a woman
 * MM in old masters - explains the symbols
 * MM's iconocraphy in art - Ross p. 170
 * National Gallery high res image of Madgalen
 * van der Weyden altarpieces as mass production (?) p 143 should be used re workshops
 * Women Readers in the Middle Ages w/ image of MM as cover art, see pp. 110 - 119
 * Iconography of Rogier's other MM - also for the Braque Trytich and the Descent
 * MM reading book of hours
 * MM as example of fur = sexuality
 * Belloli - van der Weyden's oils
 * Campbell 1811 sale 441
 * same as above but easier to read
 * Bruges
 * More on women reading


 * Iluminated manuscripts
 * Medieval manuscripts
 * Belles Heures Beautiful hours
 * Valois
 * Valois patronage one I've been searching for
 * Valois patronage extended

Misc links

 * Wormwood
 * 150 papers re illness which is really all that needs to be said - Note: download this

Review

 * Lead
 * Good comments


 * Biography
 * should add that he was taken weekly to visit dead Vincent's grave = early pre-occupation w/ death of one's own identity. Have to remember where I read that.
 * The school section needs to be rewritten - mentions that he was at a school for only one year at school & then somewhere else & then somewhere else, but should be consolidated and rewritten for flow. Go from general to specific.
 * Are addresses for Goupil important? The page is large and probably will get larger, so let's decide which detail can go & what to keep.
 * returned to England > from where? why? this is a rough para > v choppy & needs work (need to re-visit; can't remember what I was thinking here)
 * agree with that return to England - for how long? when?..Modernist (talk) 15:09, 5 June 2011 (UTC)


 * structure > Goupil in England; then somewhere; then back to England for unpaid work in a school; assists Methodist preacher; back home to a bookshop but has a roomate?; to Amsterdam where he fails a test; to Belgium; back home; father considers an asylum; back to Belgium. Needs reorg.
 * Moved to the Etten countryside with his parents - is this a new location for them? If not fix.
 * Yes, this was a new location for them. I have the year in an article somewhere - I can find the ref for that.CaroleHenson


 * Maybe too much detail about Kee - a bit more summary style?
 * repetitive detail re Sien > daughter mentioned twice
 * Sien's drowning > move to note
 * why did the parents move so often?
 * Parish assignment changes, but always to small towns (never an advancement) CaroleHenson


 * Margot section needs more clarification; she wasn't enthusiastic but overdosed when the families opposed the marriage?
 * Interest from Paris in his work - how? why? the anecdote about forcing himself on the model maybe moved into another para or something - structure
 * Why did he move to Antwerpe?
 * Loose teeth = rickets. Does the source support? Link?
 * Antwerp - why was he treated by Cavenaile? org here > palette; drinking; exams; ill; smoking. At some point the illness has to be introduced and then specifically and clearly woven through throughout. I think introduce as soon as possible, but I don't know the details of when he began to show signs of illness. Also was he epileptic? If so, when did that begin?
 * Monticelli book > clarify & integrate better
 * "For months van Gogh worked at Cormon's studio" > entire para needs reworking
 * If it helps, Still life paintings by Vincent van Gogh (Paris)


 * Why did he move to Asniere?
 * breather from brother and Paris, desire to paint the NW suburbs with Signac and Bernard. Rather than a "move", I think it was more of a visit. He left when he got into an argument with Signac's father. CaroleHenson


 * Befriended Gauguin is topic sentence > then nothing re Gauguin but para about exhibition
 * Moved to Arles > hoping for refuge from what?
 * Paris city life, but also to move to a more sunny place for brighter colors, etc. CaroleHenson
 * Also to remove himself from the Paris art world; Gauguin and Cezanne have similar motivations, 'artistic ideals'...Modernist (talk) 16:23, 5 June 2011 (UTC)


 * Move the Jeanne Calment reminiscence somewhere else - or better to delete I think
 * "Yet he was taken by the local landscape" > another sentence beginning with a conjunction. Move to 1st para in section & then begin para w/ "His works from this period" .... as topic sentence & go to specific. Para needs reorg: light to colors to light to landscapes to an exhibition to an American collector to the address & cost of his living accommodations. All in one para!
 * Organize living accommodations together > the boarding house; the yellow house
 * Organize the work he did during these months together. ( I will have questions about this )
 * Two sentence para needs to find a home > VvG gives a soldier lessons; McKnight introduces him Boch. How do these tie together. Or put them where they belong. Or lose the drawing lesson and shove into the Saintes- Maries page.
 * Gauguin timeline needs work > waiting, Gauguin consents (sounds like he's on his way) but vG has to ask again - so smooth this out
 * Decide how much to emphasize the illness. Did Gauguin cause it, or cause a flare up of something. Find sources for this! The ear cutting episode is so well known it should be well explained in my view.
 * In hospital - again no clarification. What was the treatment? Diagnoses? May have to dig for papers on this. Check jstor
 * Were the irises painted during this episode? the link is to hospital but dabbed to the hospital at arles article which seems important. That needs fixing & maybe something in the text that he painted in the hospital
 * Floods damaged paintings comes out of nowhere. Nothing here about the prodigious output during this period and that the paintings were stacked up. Should add
 * Back in another hospital - why?
 * Transition needed - he's in the asylum but somehow manages to place his work in an exhibition. Explain. Also not following re Lautrec - demanded honor from VvG or on his behalf?
 * Separate para for White Almond Blossoms
 * Lots of literature on Gachet - he probl needs a better introduction; he just suddenly appears
 * Maybe replace one of the images w/ Wheatfield w/ Crows. Interesting to see his final work
 * "Recently acquitted from the hospital" > he's been to an exhibition; he's been to Paris. Has he been hospitalized again?
 * Mental illness finally in last section. Needs to be introduced early on & woven all the way through & then lose this section completely. We can only understand the man by following the sources re his illness. The illness defined the man. Whether the illness defined the art is up to the critics & the page needs to reflect what the critics say
 * Should prob also mention what happened to his siblings > similar to the treatment in Hemingway. Check to see if in a note or a separate para or how ….


 * Working procedures
 * Good - needs a copyedit. Maybe link the Delft university & the x-ray technology?


 * Legacy
 * Posthumous fame
 * A little factoidy, but can take a lot expansion. Tons of expansion. Maybe use Ernest Hemingway's legacy section as template. Somewhere we need to say that he was the best the best the best. Gotta say it, gotta find plenty of sources to back it up.
 * Influence
 * Can prob be expanded or combined with fame. At the moment the Bacon section seems overly weighty but will change if more is added; still, might need a trim.


 * Refs
 * Ref check consistency
 * Why a separate source section for biography & art? Should be combined and anything not used deleted. We need to decide if we want a further reading section - I say no because they're subjective & don't like wiki to be used as a bibliography/library but will defer to consensus.
 * Move all book refs that are formatted in the text to the sources section, leaving only author/ date/ page in the text
 * bare urls
 * fix the bolded title url
 * almost 200 refs - yikes! can we bundle?
 * some notes formatted in the ref notes section; some in the refs. Move all notes to notes.


 * General
 * Check the sourcing. I think maybe an over-reliance on primary sources (the letters) & not enough on secondary.
 * How to reorg?
 * Needs a strong narrative & themes. Preoccupation with death; illness; self-abuse; religion; art art art.
 * MoS
 * Nonbreaking spaces?
 * Dates
 * Dashes
 * Replace seasons with months where ever possible
 * The Hague > the Hague? consistency
 * Consistent capitalizations > impressionism vs. Impressionism
 * Check for duplicate links - seems to be some overlinking

Bouts

 * Glue size painting defined & reason for lining explained
 * Leonard, Mark
 * enormous file
 * Tuchlein paintings, water based medium, left unvarnished, w/ glue-based backing and would "have assumed a luminous presence that would have been visible from all vantage points". 517
 * Colours have become muted b/c of exposure to light & b/c qualities of indigo lend cause a more than usual degree of degradation 517
 * Canvas = flax = z spun = tightly spun. Thread count for Annunciation, Entombment & Resurrection are the same 517
 * Glue size = preparing the cloth w/ an animal glue to prevent the paint from bleeding into the fabric 521
 * For blues Bouts used azurite mixed with smalt and ultramarine - seen in Entombment. Green in the landscape made with lead tin yellow and indigo. 521
 * Koch, Robert
 * Cruxifiction = twice size (height & width) & prob the center panel. Left wing > top = Annunciation; bottom = Adoration of the Magi. Right wing > top = Entombment; bottom = Resurrection. Magi only mentioned in Eastlake diaries. 514
 * Entombment accepted as Bouts & 1450 - 1460 515
 * Hidden or covered hand = leitmotif in each panel - in Entombment some of the hands of the attendant's hidden w/ exception of Mary (go back to this for detail) 516

Durer

 * Lotte Brand Philip
 * Diptych is mentioned 3 times in Imhoff's inventories: 1573/74 (single inventory), 1580, 1588 - each time w/ the mother's panels, which was thought to be lost. p. 5
 * The combined set of arms (Holper & Durer) suggest the father's rosary panel would have formed a diptych with a panel of Barbara p. 5
 * The panels were probably separated sometime between 1588 & 1628 (the father panel was not in the 1628 inventory) - and the father panel was sold to Maximilian of Bavaria sometime during those years. p. 5
 * Brand Philips wondered why the father panel was bought without the companion panel, but thought perhaps because of Imhoff's description of the mother panel: "The mother of Albrecht Durer in oil colors on wood, there are many who do not believe it to be a work of Durer…" p. 6
 * One critic has suggested that Albrecht's painting was paired w/ a saint, but Brand Philip rejects the suggestion. (p.6)
 * The mother panel was believed to be either a copy; at any rate it is simply less well painted. p. 6
 * For centuries the mother panel was believed to be lost. p 6-7
 * Brand Philips saw a portrait of a woman in Nuremberg and it to believed a Durer: the provenance of the portrait was that it had belonged to 19th cent. His de la Salle collection, sold to Louvre (which bought a number of Durers), then to Munich, then to Nuremberg in 1925 & there attributed to Master W.B. At that time, missing strip on left hand side was documented. p. 7
 * 1937 Nuremberg catalogue places it as a "Nuremberger painter of the circle of Wolgemut, around 1480" p. 7
 * At that time there was no agreement among scholars in regards to the mother panel p. 7
 * 'Brand Philips thought it might be the companion portrait to panel in the Uffizi because of the compositional similarities and the sizes of the panels (which match taking into account the removal of 3 cm from the mother panel) p. 7'
 * Both portraits are busts, both show hands, both figures hold rosaries, both set against same olive green background, both lit from same direction, & etc., p. 7
 * Strip removed from mother panel detracts from the harmony of the two pieces according to Brand Philips p. 10
 * Brand Philips says, "The paired paintings even show remarkable correspondences in their linear construction" - both panels show triangles in the clothing (mother's headdress & fur in father's coat), and lines of mother's headress draped across breast/chest mimic lines of father's coat opening in same area p. 10
 * Brand Philips sees enough similarities in the Berlin drawing (aged Barbara Holper), particularly in nose and eyes,  to be convinced the woman in this panel is Holper at 39. p. 11
 * In this panel Holper would have had 17 (of 18) children p. 11
 * Brand Philips wrote to Anzelewsky in 1977 with her suppositions & in reply Anzelewsky confirmed the theory, writing, "You hit the mark. I am even inclined to believe you found the original." Anzelewsky compared the backs of both panels and found that "not only [are] both backs covered with the same design of masses of dark clouds, but also both backs show a faded but still legible 'No. 19'."
 * 19 is the inventory number from the Imhoff collection which positively identifies it as the panel in that was Imhoff collection with the father's panel. p. 12
 * 'footnote 27 on page 12 - "hubsch" definitely means pretty. "Jungfrau" may mean young woman, but usually, virgin.'
 * Having been established as the companion piece to the father panel in the Imhoff collection, the mother panel still hadn't been established as a copy or by Durer. p. 14
 * The mother panel is inferior to the father panel, the headdress "carelessly sketched … betraying an incomplete understanding of perspective", eyeballs are "rendered in curiously clumsy, jagged lines" - all of which points to a copy. p. 15
 * But - Brand Philips believes it improbable that the Imhoffs would have bought both a copy & an original - the two must have been a pair, which the clouds seems to prove. p. 15-16
 * Brand Philips suggests Durer painted his mother's portrait earlier than the father panel and thus it shows an earlier Durer style/technique & that Durer intentionally added the compositional similarities to his father's portrait to mirror the earlier painted mother panel. 17
 * Brand Philip's speculates that Durer's father may have "commissioned" his panel before Albrecht left on his journey years; it might have been a devotional diptych showing the two parents w/ rosaries praying for the safe homecoming of their son & w/ the mother panel previously painted, Albrecht then painted the father panel. p. 17
 * The reason for the two panels and reason for the differences in style & technique is speculation but it is definite that the Nuremberg panel is the companion to the Uffizi panel. p. 18