4 10 290 https://artgalleries.milne-library.org/files/original/08df12e1144163f06678956c54c55277.jpg 91a158d631ffe5ed8e8abb94e5f363ad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. and Mrs. Samuel S. Silverman Collection Description An account of the resource This Collection contains oil paintings from several School of Paris artists: Blaquiere, Grandmaison, Hardy, Hasegawa, Marchand des Raux, Sanh, Tanaka, Ubeda, Coignard, Priking, Goetz and Grandjean. These are all artists that were active in and around Paris after WWII. Roger Blaquiere was born in Paris in 1933. He attended the School of Applied Arts and the National School of Beaux Arts. He won the Prix d'Art Monumental in 1956, the Prix Casa Velazquez in 1959 and the Grand Prix de Rome in 1963. Blaquiere has had one-man shows in Madrid as well as in Paris. From 1958-1963, he participated in the Salon of Young Painters at the Museum of Modern Art. He exhibited in the Salon d'Automne in 1959 and 1960. He was one of twenty young French painters presented by the Museum of Modern Art and the Alliance Francaise in a traveling show in the United States. Stuart Preston, critic of the New York Times, reported that he and one other painter in the Exhibition gave promise of a fine future as an artist. Both France and the City of Paris have purchased his works. James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould. Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA). Raymond Grandjean was born in Lyon, France in 1929. He was independent in his artistic development, becoming a non-figurative painter in 1951. He had one-man shows in France since 1954 and participated in group shows in Italy and Germany. He is represented in the Museum of Lyon, and in the Museum of Modern Art in New York. Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States. Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris). Louis Marchand des Raux was born in Touraine in 1904 and went to the south of France in 1920. He started to paint in 1934 and was completely self-taught. An eminent collector, Adolphe Schloss, encouraged him and purchased his first canvases. He was the chief landscapist at the chateau "Ile-de-France" belonging to the Baronne Ephrussi de Rothschild. His work reflects the rich colors of the flowers that surrounded him. He exhibited widely in France, London and Italy. Franz Priking was born in 1927 in Germany. In 1947 he was attracted to painting and abandoned his college studies in Weimar, entering the Bauhaus in Weimar (the college founded by Klee and Kandinsky). In 1948, he entered the Academy of Berlin, the class of Max Pechstein. As a student, he traveled to France in 1950 and lived there from then on. He exhibited in Germany, London, Geneva, throughout France and the United States. Georges Sanh was born in 1909 in Hanoi, his father was French. He is a self-taught painter and expresses himself in a very personal way. He has been exhibited in Sweden, Norway, Switzerland and the United States. Shu Tanaka was born in Tokyo in 1908, the son of a traditional painter. He studied at the Beaux Arts in Tokyo and was in China in 1935-1936. He went to live in Paris in 1954. He has exhibited in Tokyo and in many shows in Paris, particularly in the Musee Galliera with the Japanese painters of Paris in four successive years. He was influenced by the School of Paris tangentially but retained the Japanese spirit in his paintings. Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He won a scholarship to study in France and stayed in Paris from that point on. In 1957, he won the prize for young painters and had his first one-man show in Paris. He has exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America. The Collector, Mr. Silverman, owned a chain of stores and he was contacted through Edgar Tafel to donate the School of Paris paintings to SUNY Geneseo Contributor An entity responsible for making contributions to the resource Mr. and Mrs. Samuel Silverman Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Composition Subject The topic of the resource Oil Painting Description An account of the resource Abstract geometric painting Oil on canvas School of Paris Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States. Old Accession Number: SL-2D-Grandmaison Signature: LR. 05/1980: Good Condition- dirty Creator An entity primarily responsible for making the resource Louis de Grandmaison (1861-1915) Source A related resource from which the described resource is derived Gift from Mr. and Mrs. Samuel Silverman Date A point or period of time associated with an event in the lifecycle of the resource 1980 Relation A related resource One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21) Format The file format, physical medium, or dimensions of the resource 47.4 x 23.5 Identifier An unambiguous reference to the resource within a given context 1980.8.10 https://artgalleries.milne-library.org/files/original/098dc62271b2baf6bf8bff7b8ded5cc9.jpg 7491f8dc1f92d3ae3830eeba82b01bfc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. and Mrs. Samuel S. Silverman Collection Description An account of the resource This Collection contains oil paintings from several School of Paris artists: Blaquiere, Grandmaison, Hardy, Hasegawa, Marchand des Raux, Sanh, Tanaka, Ubeda, Coignard, Priking, Goetz and Grandjean. These are all artists that were active in and around Paris after WWII. Roger Blaquiere was born in Paris in 1933. He attended the School of Applied Arts and the National School of Beaux Arts. He won the Prix d'Art Monumental in 1956, the Prix Casa Velazquez in 1959 and the Grand Prix de Rome in 1963. Blaquiere has had one-man shows in Madrid as well as in Paris. From 1958-1963, he participated in the Salon of Young Painters at the Museum of Modern Art. He exhibited in the Salon d'Automne in 1959 and 1960. He was one of twenty young French painters presented by the Museum of Modern Art and the Alliance Francaise in a traveling show in the United States. Stuart Preston, critic of the New York Times, reported that he and one other painter in the Exhibition gave promise of a fine future as an artist. Both France and the City of Paris have purchased his works. James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould. Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA). Raymond Grandjean was born in Lyon, France in 1929. He was independent in his artistic development, becoming a non-figurative painter in 1951. He had one-man shows in France since 1954 and participated in group shows in Italy and Germany. He is represented in the Museum of Lyon, and in the Museum of Modern Art in New York. Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States. Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris). Louis Marchand des Raux was born in Touraine in 1904 and went to the south of France in 1920. He started to paint in 1934 and was completely self-taught. An eminent collector, Adolphe Schloss, encouraged him and purchased his first canvases. He was the chief landscapist at the chateau "Ile-de-France" belonging to the Baronne Ephrussi de Rothschild. His work reflects the rich colors of the flowers that surrounded him. He exhibited widely in France, London and Italy. Franz Priking was born in 1927 in Germany. In 1947 he was attracted to painting and abandoned his college studies in Weimar, entering the Bauhaus in Weimar (the college founded by Klee and Kandinsky). In 1948, he entered the Academy of Berlin, the class of Max Pechstein. As a student, he traveled to France in 1950 and lived there from then on. He exhibited in Germany, London, Geneva, throughout France and the United States. Georges Sanh was born in 1909 in Hanoi, his father was French. He is a self-taught painter and expresses himself in a very personal way. He has been exhibited in Sweden, Norway, Switzerland and the United States. Shu Tanaka was born in Tokyo in 1908, the son of a traditional painter. He studied at the Beaux Arts in Tokyo and was in China in 1935-1936. He went to live in Paris in 1954. He has exhibited in Tokyo and in many shows in Paris, particularly in the Musee Galliera with the Japanese painters of Paris in four successive years. He was influenced by the School of Paris tangentially but retained the Japanese spirit in his paintings. Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He won a scholarship to study in France and stayed in Paris from that point on. In 1957, he won the prize for young painters and had his first one-man show in Paris. He has exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America. The Collector, Mr. Silverman, owned a chain of stores and he was contacted through Edgar Tafel to donate the School of Paris paintings to SUNY Geneseo Contributor An entity responsible for making contributions to the resource Mr. and Mrs. Samuel Silverman Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Composition Subject The topic of the resource Oil Painting Description An account of the resource Oil on canvas School of Paris Signature: LR Old Accession Number: SL-2D-Hardy Creator An entity primarily responsible for making the resource Marie Louise Hardy ( -1987) Source A related resource from which the described resource is derived Gift from Mr. and Mrs. Samuel Silverman Date A point or period of time associated with an event in the lifecycle of the resource 1980 Relation A related resource One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21) Format The file format, physical medium, or dimensions of the resource 25.5 x 8.125 Identifier An unambiguous reference to the resource within a given context 1980.8.11 https://artgalleries.milne-library.org/files/original/682c40d225dc6a9126bf4a8133470817.jpg 71a2001d04e47b2f0146f95430263963 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 2356 Height 1409 Bit Depth 8 Channels 3 IPTC String date_created:28.11.2012 IPTC Array a:1:{s:12:"date_created";s:10:"28.11.2012";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. and Mrs. Samuel S. Silverman Collection Description An account of the resource This Collection contains oil paintings from several School of Paris artists: Blaquiere, Grandmaison, Hardy, Hasegawa, Marchand des Raux, Sanh, Tanaka, Ubeda, Coignard, Priking, Goetz and Grandjean. These are all artists that were active in and around Paris after WWII. Roger Blaquiere was born in Paris in 1933. He attended the School of Applied Arts and the National School of Beaux Arts. He won the Prix d'Art Monumental in 1956, the Prix Casa Velazquez in 1959 and the Grand Prix de Rome in 1963. Blaquiere has had one-man shows in Madrid as well as in Paris. From 1958-1963, he participated in the Salon of Young Painters at the Museum of Modern Art. He exhibited in the Salon d'Automne in 1959 and 1960. He was one of twenty young French painters presented by the Museum of Modern Art and the Alliance Francaise in a traveling show in the United States. Stuart Preston, critic of the New York Times, reported that he and one other painter in the Exhibition gave promise of a fine future as an artist. Both France and the City of Paris have purchased his works. James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould. Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA). Raymond Grandjean was born in Lyon, France in 1929. He was independent in his artistic development, becoming a non-figurative painter in 1951. He had one-man shows in France since 1954 and participated in group shows in Italy and Germany. He is represented in the Museum of Lyon, and in the Museum of Modern Art in New York. Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States. Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris). Louis Marchand des Raux was born in Touraine in 1904 and went to the south of France in 1920. He started to paint in 1934 and was completely self-taught. An eminent collector, Adolphe Schloss, encouraged him and purchased his first canvases. He was the chief landscapist at the chateau "Ile-de-France" belonging to the Baronne Ephrussi de Rothschild. His work reflects the rich colors of the flowers that surrounded him. He exhibited widely in France, London and Italy. Franz Priking was born in 1927 in Germany. In 1947 he was attracted to painting and abandoned his college studies in Weimar, entering the Bauhaus in Weimar (the college founded by Klee and Kandinsky). In 1948, he entered the Academy of Berlin, the class of Max Pechstein. As a student, he traveled to France in 1950 and lived there from then on. He exhibited in Germany, London, Geneva, throughout France and the United States. Georges Sanh was born in 1909 in Hanoi, his father was French. He is a self-taught painter and expresses himself in a very personal way. He has been exhibited in Sweden, Norway, Switzerland and the United States. Shu Tanaka was born in Tokyo in 1908, the son of a traditional painter. He studied at the Beaux Arts in Tokyo and was in China in 1935-1936. He went to live in Paris in 1954. He has exhibited in Tokyo and in many shows in Paris, particularly in the Musee Galliera with the Japanese painters of Paris in four successive years. He was influenced by the School of Paris tangentially but retained the Japanese spirit in his paintings. Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He won a scholarship to study in France and stayed in Paris from that point on. In 1957, he won the prize for young painters and had his first one-man show in Paris. He has exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America. The Collector, Mr. Silverman, owned a chain of stores and he was contacted through Edgar Tafel to donate the School of Paris paintings to SUNY Geneseo Contributor An entity responsible for making contributions to the resource Mr. and Mrs. Samuel Silverman Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Composition Subject The topic of the resource Oil Painting Description An account of the resource Abstract Oil on paper School of Paris Signature: LL Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris). Old Accession Number: SL-2D-Hasegawa Creator An entity primarily responsible for making the resource Shoichi Hasegawa (1929- ) Source A related resource from which the described resource is derived Gift from Mr. and Mrs. Samuel Silverman Date A point or period of time associated with an event in the lifecycle of the resource 1980 Relation A related resource One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21) Format The file format, physical medium, or dimensions of the resource 11.75 x 19.25 Identifier An unambiguous reference to the resource within a given context 1980.8.12 https://artgalleries.milne-library.org/files/original/45ce0984f2108973ce5de85a0b1c4f9a.jpg 2245c3ef8e682688ec3c8a071f332581 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 978 Height 1470 Bit Depth 8 Channels 3 IPTC String caption: date_created:28.08.2011 IPTC Array a:2:{s:7:"caption";s:31:" ";s:12:"date_created";s:10:"28.08.2011";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. and Mrs. Samuel S. Silverman Collection Description An account of the resource This Collection contains oil paintings from several School of Paris artists: Blaquiere, Grandmaison, Hardy, Hasegawa, Marchand des Raux, Sanh, Tanaka, Ubeda, Coignard, Priking, Goetz and Grandjean. These are all artists that were active in and around Paris after WWII. Roger Blaquiere was born in Paris in 1933. He attended the School of Applied Arts and the National School of Beaux Arts. He won the Prix d'Art Monumental in 1956, the Prix Casa Velazquez in 1959 and the Grand Prix de Rome in 1963. Blaquiere has had one-man shows in Madrid as well as in Paris. From 1958-1963, he participated in the Salon of Young Painters at the Museum of Modern Art. He exhibited in the Salon d'Automne in 1959 and 1960. He was one of twenty young French painters presented by the Museum of Modern Art and the Alliance Francaise in a traveling show in the United States. Stuart Preston, critic of the New York Times, reported that he and one other painter in the Exhibition gave promise of a fine future as an artist. Both France and the City of Paris have purchased his works. James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould. Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA). Raymond Grandjean was born in Lyon, France in 1929. He was independent in his artistic development, becoming a non-figurative painter in 1951. He had one-man shows in France since 1954 and participated in group shows in Italy and Germany. He is represented in the Museum of Lyon, and in the Museum of Modern Art in New York. Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States. Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris). Louis Marchand des Raux was born in Touraine in 1904 and went to the south of France in 1920. He started to paint in 1934 and was completely self-taught. An eminent collector, Adolphe Schloss, encouraged him and purchased his first canvases. He was the chief landscapist at the chateau "Ile-de-France" belonging to the Baronne Ephrussi de Rothschild. His work reflects the rich colors of the flowers that surrounded him. He exhibited widely in France, London and Italy. Franz Priking was born in 1927 in Germany. In 1947 he was attracted to painting and abandoned his college studies in Weimar, entering the Bauhaus in Weimar (the college founded by Klee and Kandinsky). In 1948, he entered the Academy of Berlin, the class of Max Pechstein. As a student, he traveled to France in 1950 and lived there from then on. He exhibited in Germany, London, Geneva, throughout France and the United States. Georges Sanh was born in 1909 in Hanoi, his father was French. He is a self-taught painter and expresses himself in a very personal way. He has been exhibited in Sweden, Norway, Switzerland and the United States. Shu Tanaka was born in Tokyo in 1908, the son of a traditional painter. He studied at the Beaux Arts in Tokyo and was in China in 1935-1936. He went to live in Paris in 1954. He has exhibited in Tokyo and in many shows in Paris, particularly in the Musee Galliera with the Japanese painters of Paris in four successive years. He was influenced by the School of Paris tangentially but retained the Japanese spirit in his paintings. Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He won a scholarship to study in France and stayed in Paris from that point on. In 1957, he won the prize for young painters and had his first one-man show in Paris. He has exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America. The Collector, Mr. Silverman, owned a chain of stores and he was contacted through Edgar Tafel to donate the School of Paris paintings to SUNY Geneseo Contributor An entity responsible for making contributions to the resource Mr. and Mrs. Samuel Silverman Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Composition Subject The topic of the resource Oil Painting Description An account of the resource Abstract Oil on canvas School of Paris Signature: LR. Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He then won a scholarship to study in France. In 1957, he won the prize for young painters and had his first one-man show in Paris. He exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America. Old Accession Number: Sl-2D-Ubeda Creator An entity primarily responsible for making the resource Augustin Ubeda (1925-2007) Source A related resource from which the described resource is derived Gift from Mr. and Mrs. Samuel Silverman Date A point or period of time associated with an event in the lifecycle of the resource 1980 Relation A related resource One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21) Format The file format, physical medium, or dimensions of the resource 22 x 15.25 Identifier An unambiguous reference to the resource within a given context 1980.8.19 https://artgalleries.milne-library.org/files/original/478dccb45b60653e5e6d2f134ac37bec.jpg 8014e86aa01a978a6377e61e92c12db8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. and Mrs. Samuel S. Silverman Collection Description An account of the resource This Collection contains oil paintings from several School of Paris artists: Blaquiere, Grandmaison, Hardy, Hasegawa, Marchand des Raux, Sanh, Tanaka, Ubeda, Coignard, Priking, Goetz and Grandjean. These are all artists that were active in and around Paris after WWII. Roger Blaquiere was born in Paris in 1933. He attended the School of Applied Arts and the National School of Beaux Arts. He won the Prix d'Art Monumental in 1956, the Prix Casa Velazquez in 1959 and the Grand Prix de Rome in 1963. Blaquiere has had one-man shows in Madrid as well as in Paris. From 1958-1963, he participated in the Salon of Young Painters at the Museum of Modern Art. He exhibited in the Salon d'Automne in 1959 and 1960. He was one of twenty young French painters presented by the Museum of Modern Art and the Alliance Francaise in a traveling show in the United States. Stuart Preston, critic of the New York Times, reported that he and one other painter in the Exhibition gave promise of a fine future as an artist. Both France and the City of Paris have purchased his works. James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould. Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA). Raymond Grandjean was born in Lyon, France in 1929. He was independent in his artistic development, becoming a non-figurative painter in 1951. He had one-man shows in France since 1954 and participated in group shows in Italy and Germany. He is represented in the Museum of Lyon, and in the Museum of Modern Art in New York. Louis de Grandmaison was born in Le Havre in 1928. He studied for a time with Andre Lhote. He had one-man shows in Paris since 1960 and participated in many group shows in the Museum of Modern Art (Paris), Luxembourg and New York. He is represented in the collections of the City of Paris, the Museum of Modern Art (Paris) and in private collections throughout Europe and the United States. Shoichi Hasegawa was born in 1929 in Japan. His first one-man show was in Japan in 1957. He went to Paris in 1961 and worked in the studio of S.W. Hayter. He exhibited in the Salon of Young Painters, and in the Salon des Independants in 1962 and in many important group shows in Paris, London, Portugal, South America, Australia and Canada. In 1964, he had a one-man show at the Galerie La Nouvelle Gravure in Paris, at the Galerie Philadelphie (Paris), Stockholm, and Yugoslavia. His works are in the following museums: Victoria and Albert (London), Bibliotheque Nationale (Paris), Museum of Modern Art (New York), Norrkopings Museum (Sweden) and the French Ministry of Cultural Affairs (Paris). Louis Marchand des Raux was born in Touraine in 1904 and went to the south of France in 1920. He started to paint in 1934 and was completely self-taught. An eminent collector, Adolphe Schloss, encouraged him and purchased his first canvases. He was the chief landscapist at the chateau "Ile-de-France" belonging to the Baronne Ephrussi de Rothschild. His work reflects the rich colors of the flowers that surrounded him. He exhibited widely in France, London and Italy. Franz Priking was born in 1927 in Germany. In 1947 he was attracted to painting and abandoned his college studies in Weimar, entering the Bauhaus in Weimar (the college founded by Klee and Kandinsky). In 1948, he entered the Academy of Berlin, the class of Max Pechstein. As a student, he traveled to France in 1950 and lived there from then on. He exhibited in Germany, London, Geneva, throughout France and the United States. Georges Sanh was born in 1909 in Hanoi, his father was French. He is a self-taught painter and expresses himself in a very personal way. He has been exhibited in Sweden, Norway, Switzerland and the United States. Shu Tanaka was born in Tokyo in 1908, the son of a traditional painter. He studied at the Beaux Arts in Tokyo and was in China in 1935-1936. He went to live in Paris in 1954. He has exhibited in Tokyo and in many shows in Paris, particularly in the Musee Galliera with the Japanese painters of Paris in four successive years. He was influenced by the School of Paris tangentially but retained the Japanese spirit in his paintings. Augustin Ubeda was born in Spain in 1925. He attended the Beaux Arts in Madrid from 1944-1948 and exhibited throughout Spain from 1949-1953. He won a scholarship to study in France and stayed in Paris from that point on. In 1957, he won the prize for young painters and had his first one-man show in Paris. He has exhibited in France, Switzerland, England, Sweden, Canada, Italy, the United States and all over South America. The Collector, Mr. Silverman, owned a chain of stores and he was contacted through Edgar Tafel to donate the School of Paris paintings to SUNY Geneseo Contributor An entity responsible for making contributions to the resource Mr. and Mrs. Samuel Silverman Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Composition Subject The topic of the resource Oil Painting Description An account of the resource Abstract Oil on linen School of Paris Henri Goetz was born in New York in 1909 and arrived in Paris in 1930. He became a naturalized French citizen in 1949. Goetz had 32 one-man exhibitions in Europe. He is well known for his work in pastel and engraving as in painting. He started as a surrealist painter and developed into one of the foremost in abstraction. All of his work is done from nature, he made his sketches on the spot and then did the painting or pastel. In 1947, Alain Resnais did a film on him. He was a highly respected teacher as well, having two academies in Paris and being professor at the American School in Fontainebleau. He is represented at the following museums: Museum of Modern Art, Paris. Museum of Grenoble. Museum of Eliat. Museum of Newark (NJ). Museum of St. Etienne. Museum of San Diego (CA). Old Accession Number:SL-2D-Goetz-1 Signature: LL Creator An entity primarily responsible for making the resource Henri Goetz (1909-1989) Source A related resource from which the described resource is derived Gift from Mr. and Mrs. Samuel Silverman Date A point or period of time associated with an event in the lifecycle of the resource 1980 Relation A related resource One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21) Format The file format, physical medium, or dimensions of the resource 25.5 x 21 Identifier An unambiguous reference to the resource within a given context 1980.8.6 https://artgalleries.milne-library.org/files/original/37d6bfa960c87d3bedf07daf654f9107.jpg 50e72ad6fd7bfcf766491b64b3977a72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 3 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 3 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Bianca Pedulla Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Custodia Degli olii Santi - E Monumento Sepolcrale del Card. Gia. Ammannati nel Chiostro di S. Agosline Subject The topic of the resource Custody of holy oils- and tomb of Cardinal Giacomo Ammannati in the cloister of Sant’Agostino Description An account of the resource Of the four existing monuments of the Cloister of S. Augustine, as we said in the Table LXI, this is the third dedicated to the memory of the learned Cardinal Jacopo Ammannati, distinguished patron of the arts and sciences, and he himself not the least among the scholars and scientists of his time. He was a native of Lucca, where 1422 was born of a noble but poor family. He was secretary of the Latin letters under Pius II, that I adopt in their Piccolomini family, but after he had done before the wicked Sigismondo Malatesta, ch'erasi ribetllato against the Pope, and (costrettolo), to return to his lands, was in 1460 in grace of signal service so appointed bishop of Pavia, and the following year to December 18 was decorated with the sacred purple (utolo) S. Griscogono . He died on September 10 of 1479 in the castle called the caves of S. Lorenzo at Belsena , and his body was transported to Rome followed by numerous retinue . He wrote the life of this outstanding Cardinal Jacopo da Volterra his secretary, and was as published in Lucca in 1712 by P. Sebastiano Paoli. This monument has great similarity with that of Costanza Piccolomini, and it may be supposed to have been the architect one who led them both, for they by rising from one to the other that it does not run that little more than a year. The inside part has the same coffin with the remains of extinct Cardinal, which is (finacheggiata) by the arms of the Piccolomini house carved it 'side pillars. Which weapons you (ripetone) under the two niches of the upper part as occupied by St. Nicholas of Tolentino and St. Giacomo of Maggiore. The story carved in the middle represents the Last Judgment. Over there is the figure of Christ surrounded by 'the twelve who are with him in that extreme day. A 'his feet, very prominent angels that fans feel the horrible sound of the trumpet, and below the messengers of heaven with one hand welcome the righteous and the other point to them the way of the heavenly homeland. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/f76eb77564d197081e445ac9591a519e.jpg ade0ca98cc7054ccc7aa8a49be5837a7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 3 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 3 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Bianca Pedulla Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Custodia degli olii Santi nella Basilica di S. Giovanni in Laterano Subject The topic of the resource Custody of holy oils in the Basilica of San Giovanni in Laterano Description An account of the resource This work of sculpture certainly belongs to the good of the century 'art, wanting to argue it from its simple style and correct. We saw the Rasponi and Crescimbeni cited by Valentini (Illus. the four Bas.) But we could not find the author's name. A more accurate and patient investigator will perhaps one day be more fortunate in his research: we are now able to have enough of is uniform, as can be seen in two parts, an upper and a lower. The first was at the bottom on a plane to equal sides and frame around a metal door on which is written: (LATIN). From the two sides are first put in perspective two arcs, of which are seen going out six and Seraphim prostrate reverently before the sacred deposit. On the whole monument is a pedestal, and over them the whole figure of Christ standing humbly and posed as his head crowned with thorns. The bottom has only two figures, representing S. John the Evangelist, and the Holy Pontiff Leo I. The one standing with a book in his right hand and a glass in the left and the other to the ground on his knees before him, and with his hands clasped in prayer. The little snake that you see out of the cup that S. John presents to S. Leo, perhaps reminiscent of the miracle worked by the saint, when the poison chalice of sojourn served up in the making and he above the sacred sign of redemption discover the deception. This second bas-relief, both for the expression of the figures, as for how to fold and for the kindness of the ornaments, which contains, it is certainly bill once more close to us, that is when the art of the chisel alluded to that perfection which would soon arrive. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/f24377aa44986bbd93e96226bfc88ff6.jpg bd1b130b9797e4a920dd010b4e9ac590 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format Format of the item being described (e.g., painting, drawing, print, sculpture, tapestry,photograph, etc.) Lithograph Physical Dimensions The actual physical size of the original image or object, in inches and/or centimeters. 22.5 x 28.5 Inches Accession The accession number assigned to the (likely physical) work for which this digital image serves as surrogate. 2018.1.8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Darkness Description An account of the resource It is a black and blue lithograph that is a part of the "10 Plagues " Scenes. Creator An entity primarily responsible for making the resource Cohen, Adele Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource Paper, Lithograph, 22.5 x 28.5 Inches Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2018.1.8 https://artgalleries.milne-library.org/files/original/7bf42201a5ba9e2b790297b8495d2899.JPG 16a4b3b0f2354129f32c432013c57753 https://artgalleries.milne-library.org/files/original/b0fac09748fa2c029f16fcc642ea9b9d.JPG a983550b1d1fb95e0223b2e0517335ad https://artgalleries.milne-library.org/files/original/5d4fc114af946d6de7308306bd801d75.JPG 3e9fda2812edba623bd60fe4a3df4215 https://artgalleries.milne-library.org/files/original/12b3a9bac11239c45299953d7d4d71ab.JPG 5770d6269cf6ea7776dd64c2e9e9c71c https://artgalleries.milne-library.org/files/original/33a8ff95c89e1fbe6f795265536e7429.JPG ea46a69517df6b3096fe6edc319c7ced https://artgalleries.milne-library.org/files/original/0bb4e30ee2024e0e07fb97e2a84badc5.JPG d8261d077a544879dc586ab9348cb0c9 https://artgalleries.milne-library.org/files/original/91a36deaa426ee65d082b3207e9a282c.JPG c5fc8f30360fbad197b9ffb049cccdd5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Descrizione Dei Monumenti Sacri E Sepolcrali Del Secolo XV. E XVI Contenuti Nel Quinto Volume Subject The topic of the resource Description of Volume 5, Pages 1 through 7 Description An account of the resource Page 1 through 7 description of Volume 5 in Italian. " Descriptions of Holy and Sepulchral Monuments of XV and XVI Centuries Contained in this Fifth Volume I think no one will want to know about the good of this work, if after having promised only four volumes I was convinced to add fifth one: especially when you will view the importance of the monuments this one contains. Difficult thing to stop, especially in Rome and for works surviving from that prolific fifteenth century, is the ability to assign a piece of work of such size and so important, also to Tosi, who loves art, was set about with such perseverance and intelligence, and accompanying his career until the last moments of his life. He could not stop at the fourth volume, without recording these sumptuous monuments in the St. Maria of the People Church, and not carry on to this fifth volume. He deserves an applause to be one of the true intelligent people in the world, and it will never be to take away anyone who will want to be the holder of a work, if that will please all of you, I respect almost essential for all those engaged in any of the arts of design. If there be if the table is nice not take the word, and one Codest; Tosi having shrewdly provisioned with a fifth volume to his previous miscalculation, growing up in this way by a thousand after on the usefulness and importance of his work. Let him then he was really focused on the 141st table, and that the goal of this work and all the whole work, form the drawings he left, say they have already all tasks, and better yet, a thought out index of the whole work, which was found among his papers in clean form and well done to impress, because this would certainly be the author’s image, intending to donate our dear members. Finally, because the work has not lacked some certificate of gratitude to the man, who after having led to a satisfactory conclusion with so much love and care, could not be compared to see to completion, we believed that it too would be a gift to the members, and below, because of a life spent entirely in the decor and the glory of the arts remains some memory, as follows. Brief Biographical Notes Of the architect Knight Francesco Maria Tosi With many painful words for the early death, and many words of praise and of awe for an honorable life, and full of hard work we remember Knight Francesco Maria Tosi, who left this world in peace. His death is augmented with tears; inasmuch as the death of men of genius, who consecrate their vigils to the immortal works, I think it is cruel and always come with too much of a solicitous step. Those who live day by day will cease to live someday, we never really learned how to start living, only finish living. But whoever gives it all to follow their nationalism and their studies, and who thanks to their works handed down his name is posterity, his death seems to us too sudden which is saddening especially if they left a work unfinished. Not overborne with excess love or vagueness of praise that I lead to him; and the truth, his work that deserved the estimate of its value to ancient practice, appears to be a thousand times more now that he has left the earth, almost that life and the presence counteract the true glory. I remember, not without mourning, and is engraved in my mind those words that the pure soul of Plinio wrote to Euricio, exhorting him to read the books of Pompeo Saturnino. “I advise you (he told him) that you do the same and, and do not disapprove of it only because he is still alive. Because if he fllurished amongst people we had never seen before, not only would we have looked for his works but we would want his images too; and now his honor languria almost to satiety we have of him and in favor of his presence! And malignancy is not to have towards this man worthy of admiration, because we should have seen him, talk to him, hug him, and love him (Epist. XVI. Book 1.)” I am not saying that Tosi was not venerated, but he deserved much more praise; and that's to blame our cases, the challenges to spread out the works that come to light here, and believe that there has been seperation of true and strong minds. Therefore, for the simplicity of confusing different things, even the works of art publicized for volumes underlie equal jundgement, or at least a few people have trouble with it. You do not make these works solely for profit, but for general use. Tosi who was skillful, studious, and careful to conserve the monuments and reproduce them until even the absent find it useful, made his works have a universal importance of utility making works that were barely expected for only one man to do, who has not lived long and had other errands on his plate, we did not know he could not have done more than what was expected of him, but he did so like a good messiah. Before nominating these works, I will provide information on the good time of the arts, of which they will lead me to explaining those that Tosi accomplished. It was said by some writers of great fame and a high reputation, that the arts emigrated from our soil in the past of the low empire and they returned not before the Turks approached the capital of the East Empire. To make a good assertion, we have evidence of this manifest that the arts in Rome will continue without interruption, and the mosaics will supply them. Visiting the churches in this Metropolis, it is sure that the first, who want to be a history of the fine arts that never stops, does the material easily enough from the works in the mosaic. If he would want the arts to expire: the expiration is not disappearance. Alena poses are real and the architecture is not working new things, because the old superabundance, and why the relics and ruins occasioned by the barbarian foreigners and our own, and the abandonment of pagan times formed a large deposit of universally-owned materials. In wanting to raise a porch, there was a church and manufactures of crafts to think of columns, while the bad government made up of many churches, holes, amphitheaters, circuses, and the kind temples allowed the first occupant of the columns of those abandoned buildings more work, or those that were overthrew but not fallen, if only because they were outsiders. This was done by the various admitted capitals, cornices, of basics, friezes that in the same work of several different architectures see them in all the ancient churches, among which the most strange as it provides St. Loernzo outside the walls. The painting was used sparingly, the great simplicity was expected and reigned in the early days of the church; and if it was used, it was for another reason which because of that extreme equality, it was lawful for a devout layman to paint the church himself instead of a more secular or less devout. But the art of the mosaic does not seem like it was treated by the expired, since at all times if they are good examples. Anyway the centuries devout and barbarians beginning to learn how to kindness, as early as the thirteenth century, without the Turks being rowdy around Constantinople, the paintings began to make good evidence, and there is an example on the door of St. Lorenzo outside the walls, where the acts of St. Steven, of St. Lorenzo and a story or two of the matron Ciriaca are represented if not beautifully, certainly without smut. Along with Cimabue and Giotto they became the best forms, and therefore the sister arts pass and rise to the excellence that we see in the 15th and 16th century. When the ducts of Constantinople came back to the mother country, escaping the hordes of Muslims, the arts had already returned to a new life, and would have been joined with the best (it is the foundation to believe it), even with the oriental invasion. And it is not even your logic to loan faith to those who say they have remade the Italian arts with the coming of the Greeks, like how there is still no foundation to say that the famous Baschetto that designed the Cathedral from Pisa was not even Italian. I say that the return of the arts, if the kindness was seen in good models, they would not lack in Rome, if it were not for the mosaic; if it is natural what is expressed in who is of a sensitive soul, where nature is beautiful, the varied and fecund soil, the benign sun, the sky is purest and the sea is blue; these things cannot be taken from Italy. But is is necessary to observe that religion was very much important in the renovating of the arts, and it was referenced in the fighting of the images. The fact is that either from impulse, or by examples done by outsiders in the 15ht and 16th century, the arts were at the highest summit where they were not joined anymore, and the best monuments in that era were received in abundance, maximum in facts of sculptures of which the churches in Rome are packed and also paved. But, my goodness! Even these treasures that remind us of the last glory of the arts, and that for nature they would not perish, have perished and are being perished by ignorance of men. From the thirteenth to the sixteenth century, the Christians began making sacred tombs placing a figure of the deceased in a lying position the same way it was placed in the casket where they would commence the funerals. Being that the sight of the corpse caused the most tender emotions to show in the friends and family after seeing their loved one once so alive and moving, now so cold, mute, and dead, it seems that memory will replay in their minds and hearts renewing their sadness for his passing as if it was the first day of his death. To not speak of the statues that are still well-preserved, I shall mention that the same lying figure emerges scratching by a marble slab, within the chapel and more often in the floor of the church, being part of the pavement, so that it went on and marked the figure and character. Such other similar monuments are a little stuck in the same raised floors, and are allowed to be walked and crush them. In St. Martino at Monti one of the such scenes made where the face and figure of the whole person that was beautiful and is consumed and has worn the shoes of the devotees or the sandals of the friars; I grieve much and I cannot stop from the accuse of the monks which support the church or who oversees the by public monuments. To repair such grave evil, and to put in view of the lovers of the fine arts and valuable works of our greatest, the Tosi rilevòin drawing all the best in the fifth and tenth century sixteenth, publicizing them in five volumes on a sheet with a brief illustration for each table; but he, while living, saw through the light of only one hundred and twenty-seven tables that do not form the entire collection. The remaining had Ammaniti drawings, only to have them suppose failure; which does not much care was made to care for his relatives, almost extinct veneration which had shown so much concern and tenderness for this work, and usefulness of the scholars of the arts of design. Almost as if this work appears to be not enough, Tosi also commenced the publication of the all places of the sepulchral monuments by memory of the illustrious men buried in Rome, followed by accuracy and biographical lying from the writer Oreste Raggi. The publication of the monuments by incisions in the branch arrived in the eightieth table, and therefore remained disturbed to have vicissitudes. In both these works, the immense difficulty in encountered throughout the agile imagination, when it is known that not a few of those monuments are disfigured, others had observed the inscriptions; waves of which had to be restored, deduces the real lesson. And why it would not have been altered of which one is most valued to be judged in the era to which it is referred to and can serve historical information, the characters were reproduced form the same shape in which in the original it was more or less orthography. When Gregorio XVI reigned, Tosi captain of artillery in the fortress of Perugia also took the command, I do not let that dwelling go through the idle. In that city, noble and rich in antiquities and Roman artifacts of valuable works of Italian art, reveal that the decorations on the designs of the divine Raphael woodcut Stefano da Bergamo for choir of St. Peter monks existing in that city. This work contained in seventy tables written in pen, remarkable for the purity and precision of the design, the purchase much fame and praise from those who venerate the memory of our great. Another work that has not been published consists of the drawings of the major broze door of St. Peter in the Vatican, also contoured in pen; a work that always seemed amiable and how much people went through to keep an eye on it. It is amazing how many works only man created! He loved the arts so much that he could not detach himself from them. He was architect in profession, was a prominent figure, yet in the purity and way of creating his art pieces he reached the summit of pure excellence. The collection of the monuments in the XV and XVI century, dedicated to the academy of St. Luke, this illustrious achieved a medal, and sent him a letter of congratulations saying that the work “does not seem lack anything.” He said it was different from the other works that “not only not reinvigorate the arts, but also make a mockery of the Roman and Italian gentile reputation. Such verdict shall be a more illustrious Academy of Europe and not easy to praise, hands him the most desirable secure merit of that great and wonderful work, for which Pope Gregory XVI also awarded the Tosi with the cross of the order of St. Silvestro. It will not be in vain to add to the glory of this illustrious deceased, that if the Tosi did not appear to direct great works of architecture, many in Rome there are walled over his drawings, of which he was always off to those not of the required tips only, to also work. And in what seemed the kindness, the description follows, and the goodness of his soul, that we do not otherwise if we would know by the very people that he took advantage of it were not obvious. Besides that we also mention works that bear his name directly, but we do not spend too much for short limits that were assigned and also not to take anything away from that kind of work, and for whom continuous and without a well laid instant laboring always deserve the universal gratitude and admiration. His studies and work weakened his body, yet he still did not fail to keep going along with taking little to no breaks. And finally ah! Unfortunately for his father, his wife, family, and friends, for Italy, the 9th of March 1859 his spirit suddenly left him and went to heaven. This sudden death, according to the doctors, caused so much fatigue and negativity that it is best not to be remembered. Accident, in which they want to tap to ancient custom to those who are less deserving, and less of Tosi very hard. And he, having been civilized and wealthy and also had excellent education And of course sweetest disposition, was frank, benevolent, friendly, tender towards her, caring with friends, pious, charitable, and kind of purged costumes, the Common beloved homeland. The affability of ways, and the whiteness to the generosity of the soul and the spirits francs proved the first aspect lovable, lively eyes and clear: he was the person to well composed. His remains were placed in the tomb of his gentle home in the cemetery of San Spirito in Sassia; and like that in his whole life that has passed to draw and collect monuments, had reserved one for him, and had worked with skill by the talented sculptor Luca Carimini for the care of his relatives, and embellished his portrait conducted at the hands of a talented painter from Bergamo. Knight Francesco Coghetti; although to live in the memory of the future are sufficient monument its virtues and his works, less fragile than a marble!" Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Source A related resource from which the described resource is derived Unknown Publisher An entity responsible for making the resource available Presso l'Editore Preprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 4. Format The file format, physical medium, or dimensions of the resource Etchings Language A language of the resource Italian Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/ca8fa86dc782fa3be635825a3f8355cb.jpg 181539e4b491456a762279b95a7ad937 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Descrizione Dei Monumenti Sacri E Sepolcrali Del Secolo XV. E XVI Contenuti Nel Urdu Volume. Page 5 of 7 Subject The topic of the resource Description of Volume 4. Page 5 of 7. Description An account of the resource Descriptions will be placed in the corresponding plates Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860