Showing posts with label venice. Show all posts
Showing posts with label venice. Show all posts

December 28, 2013

Fabio Isman reports on scholar Augusto Gentili's identification of sitter of portrait "Young Knight in Landscape" at the Museo Thyssen-Bornemisza

Carpaccio's 1515 "Young Knight in a
 Landscape", Museo Thyssen-Bornemisza
Investigative journalist Fabio Isman's article "Scoperto chi è il “Cavaliere Thyssen” di Carpaccio" discusses the work of scholar Augusto Gentili who has identified the mystery man in Vittorio Carpaccio's painting "Young Knight in a Landscape" (1515) at the Museo Thyssen-Bornemisza in Madrid. Gentili, a lecturer at Ca'Foscari di Venezia until his retirement, has identified the painting as a portrait of the Venetian captain Marco Gabriel decapitated by the Turks in 1501 during wartime.

Here Mar Borobia for the museum describes the difficulty in identifying painting as either a fictional knight or a portrait which would be "the first known example in which the sitter is depicted full-length":
It has been suggested that this new format can be explained if this image were a posthumous portrait of a soldier, in which case the figure would be similar to funerary images of a comparable type and date. The landscape around this enigmatic young man is as mysterious and troubling as he is, combining as it does flowers and animals that refer both to good and evil, purity and corruption.
Isman reports that Professor Gentili linked the portrait to Marco Gabriel and to Venice's Hotel Gabrielli. The English translation of Gentili's analysis will be published in The Burlington Magazine.

May 28, 2013

Dan Brown's fictional Robert Langdon uses the "ARCA Web site" in "Inferno" to research the Horses of St. Mark's in Venice

The Horses of St. Mark's (The Triamphal Quadriga)
by Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

In Chapter 17 of Dan Brown's Inferno published May 14 by Doubleday, (and reviewed by Janet Maslin in The New York Times), the fourth book featuring Robert Langdon, the fictional Harvard University professor of religious iconography and symbology, researches the Horses of St. Mark's: 

As it turned out, the powerful bodies of the early Friesian horses had inspired the robust aesthetic of the Horses of St. Mark’s in Venice. According to the Web site, the Horses of St. Mark’s were so beautiful that they had become “history’s most frequently stolen pieces of art.”

Langdon had always believed that this dubious honor belonged to the Ghent Altarpiece and paid a quick visit to the ARCA Web site to confirm his theory. The Association for Research into Crimes Against Art offered no definitive ranking, but they did offer a concise history of the sculptures’ troubled life as a target of pillage and plunder.

This appears to be a reference to the blog post(s) by Judge ArthurTompkins, an ARCA Lecturer, written in June of 2011: The Four Horses of the Basilica San Marco, Venice (Part I); More on the History (Part II); Continued Short History (Part III); and The Four Horses Rest Inside St. Mark's Basilica in Venice After Being Plundered from Constantinople in the 13th Century (Part IV). On the ARCA blog is another post about the "The Triamphal Quadriga" in Paris Diary: Replica of Stolen Art at Arc de Triomphe du Carrousel.

Then Brown is a bit more definitive about what academics would question:

The four copper horses had been cast in the fourth century by an unknown Greek sculptor on the island of Chios, where they remained until Theodosius II whisked them off to Constantinople for display at the Hippodrome. Then, using the Fourth Crusade, when Venetian forces sacked Constantinople, the ruling doge demanded the four precious statues be transported via ship all the way back to Venice, a nearly impossible feat because of their size and weight. The horses arrived in Venice in 1254, and were installed in front of the façade of St. Mark’s Cathedral.

More than half a millennium later, in 1797, Napoleon conquered Venice and took the horses for himself. They were transported to Paris and prominently displayed atop the Arc de Triomphe. Finally, in 1815, following Napoleon’s defeat at Waterloo and his exile, the horses were winched down from the Arc de Triomphe and shipped on a barge back to Venice, where they were reinstalled on the front balcony of St. Mark’s Basilica.

Although Langdon had been fairly familiar with the history of the horses, the ARCA site contained a passage that startled him.

The decorative collars were added to the horses’ necks in 1204 by the Venetians to conceal where the heads had been severed to facilitated their transportation by ship from Constantinople to Venice.

August 7, 2009

Charity Lecture in Support of Venice in Peril


Exclusive Art Crime Lecture in aid of Venice in Peril
Noah Charney
on
"Stealing the Mystic Lamb: the true story of the world’s most frequently stolen masterpiece"
and
Vernon Rapley
on
"The Art of Deception: the criminal use of fake and forged art, antiques and antiquities"

We are delighted to announce that author and international art crime expert, Noah Charney, will give the Venice in Peril Autumn Lecture to be held at The Royal Geographical Society on Thursday 1 October 2009, at 7pm. Entitled "Stealing the Mystic Lamb: the true story of the world’s most frequently stolen masterpiece", Noah will give an exclusive and original insight into Van Eyck’s Ghent Altarpiece, a work that has been involved in 13 crimes over its 600 year existence. An original speaker who returns for Venice in Peril due to a sell-out talk last year, Noah will be joined by Detective Sergeant Vernon Rapley. With a police career spanning 23 years, DS Rapley is head of London’s Metropolitan Police Art and Antiques Unit, a unit dedicated to policing the world’s second largest art market and which recovers, on average, £7million of stolen and laundered art each year.

Thursday 1st October 2009 at 7pm
Doors open at 6pm with public bar and garden
The Royal Geographical Society
1 Kensington Gore, London SW7
To book tickets please either:
Call the Venice in Peril office on 020 7736 6891 or
Email us at info@veniceinperil.org