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PORTRAIT OF
CORNELIA (SEE PHOTO ABOVE)
Titian / c.
1490-1576
(Featured in the TV Series
D-Diaries -"Lost Woman of Italy) - Order
from Amazon)
Titian (c. 1490-1576)
Birth Name: Tiziano
Vecellio
Country: Italy
Style: High Renaissance, mostly oil
paintings
Teachers: Bellini & Giorgione
Extensive
research of 27 years --
indicates that the
painting of Cornelia-lady in waiting to Countess
Pepoli- ELISA BETTA, is the portrait painted by
Titian-Tiziano Vecillio mentioned several times in
the MANTUAN DOCUMENTS for the year 1530.BACKGROUND
RESEARCH:
It is clear from Federico Gonzaga's letter of
September 1530, to Sigismondo Dell Torre that the
portrait was finished (Mantua Archives;
Cavalcaselle).
On August 5th 1530 his wife Cecilia died and in
September he sends Federico Gonzaga, now Duke of
Mantua a copy of the St. Sebastian from the Brescia
polyptych, and also the PORTRAIT OF CORNELIA - lady
in waiting to Countess Pepoli. The reference made
to the size of the portrait is small and the age of
the your girl.
As in 1534 he paints Isabella d'Este as a young
girl, taking a previous portrait by Framcoa as his
model. As is common knowledge that Titian began the
era of portraits of young girls (subjects)/. The
painting is signed in the Titian style.
SUBSTANTIATING PROOF:The flesh tones are similar
to the style and color; by initial coat of sienna
and then overlays of a transparent white flesh
tones, built up in the fleshy areas of the face
(example nose, cheeks, etc.) and the thin areas-the
canvas texture may be seen.
Value: US$
Open.
- Major Works:
- Man w/ the Glove (1519)
- Pesaro Madonna (1519-26)
- Bacchus and Ariadne (1522-23)
- Venus of Urbino (1538)
- Danae (1554)
- Abduction of Europa (1559)
- Christ Crowned w/ Thorns (1573-75)
FACTS ABOUT TITIAN: The most prolific of the
Venetians, during Titian's time painting moved from
the use of wood panels to canvas as the painting
surface. Because of this, pretentious art folks say
that he established oil on canvas as the
predominant medium of painting for the future.
Whatever.
He was a friend of Emperor Charles V - so much
so that he made Titian a knight of the Holy Roman
Empire.
Venus of Urbino (seen above) is of course, the
painting featured in the classic Saturday Night
Live sketch "Art Classics with E. Buzz Miller",
during which Dan Aykroyd pronounces the artist's
name as "Titty-an" and says "...and I don't think
anybody can deny this is a very nice painting of a
broad on a couch".
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Was
Van Gogh A Good Investment?
Norton Simon had
purchased the Van Gogh painting - "Hospital at
Saint-Remy" for $380,000 - then 10 years later sold
it to Armand Hammer for $1.2 million, then 16 years
later, Hammer sold the painting for $53.9
million
Talking about the 16th
century painter
Titian, the writing style of Times
writer Suzanne Muchnic and the ability of the
Norton Simon Museum to earn money on its art
collection was a treat. As Ms. Muchnic recently
mentioned in her article, Simon collected broadly
over a period of about 35 years, but he began with
Impressionism, in 1954, and never lost interest in
the movement or its seauel. Posthis death, in 1993,
Simon still spoke with great enthusiasm about the
Van Goghs in his collection.
Van Gogh's
career was short
but very productive, and his style
evolved quite rapidly. The Simon collection
contains relativelv early Van Goghs works, painted
in 1885 in the Netherlands&emdash;lncluding a
frosty landscape, "The Parsonage Garden in the
Snow," and a; dark portrait, "Head of a Peasant
Woman With a White Bonnet"&emdash;as well as later,
vividly colored portraits of the artist's mother
and a peasant farmer. Another late painting, "The
Mulberry Tree," depicts a tree with brilliant
yellow foliage, fairly bristling with energy.
Norton Simon
also amassed one
of the nation's largest and best
holdings of Degas' work, including pastels,
paintings and a unique set of bronze master casts
of ballet dancers and horses. Many examples are on
view at the museum in recently refurbished
galleries, along with paintings by Cezanne,
Gauguin, Monet, Manet, Pierre-Auguste Renoir and
Camille Pissarro. -
-----While Simon
was collecting many of these works, one of his
finest Van Goghs got away,. but it didn't go far.
In one of many efforts to redefine his art holdings
and raise money to buy still more art, Simon sold
Van Gogh's 1889 painting "Hospital at Saint-Remy"
for $1.2 million at a 1971 auction. The buyer was
none other than oil magnate Armand Hammer, another
major Los Angeles collector.
----- Simon had
purchased the painting 10 years earlier for
$380,000, so he was pleased with his profit at the
auction. But 16 years later, when Van Gogh's
pinting "Irises" brought a record $53.9 million at
Sotheby's New York, Hammer could hardly stop
bragging about how smart he had been to snap up his
Van Gogh at a bargain price.
----- If "Irises,"
which depicts a small patch of the hospital garden
at Saint-Remy, had been sold for $53.9 million,
Hammer reasoned, his painting of the entire and
surrounding landscape was surely worth much
more&emdash;maybe $100 million, maybe $500 million.
Whatever sum it might actually bring on the current
market, the paining is now the most valuable piece
in the permanent collection of the UCLA/Armand
Hammer Museum of Art and Cultural Center in
Westwood.
Sostheby's
sold "Irises" to Australian businesman
Alan Bond in 1987. But in a strange
trurn of events, the painting subsequently came to
Los Angeles, in the collection of the J. Paul Getty
Museum. The Getty purchased the painting for an
undisclosed price in 1990, after Bond defaulted on
his payments to the auction house.
----- "Irises" is
by far the most popular painting at the
Getty&emdash;attracting a cluster of viewers even
on the quietest days&emdash;but the museum is
celebrating "Van Gogh's Van Goghs" by making its
own famous painting the centerpiece of a special
presentation, "Vincent's Irises." Two related Van
Gogh paintings, "Iris," on loan from the National
Gallery of Canada, and "Self-Portrait Dedicated to
Paul Gauguin," from Harvard University Art Museums,
will accompany the Getty's "Irises" until March 21,
1999
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An
intriguing
tale of survival
Leonardo da Vinci's "Lady With
an Ermine," on display in San Francisco, may be as
noteworthy for its history as its
aesthetics.
SAN FRANCISCO -- Every traveling exhibition of
treasures from a distant land seems to have a few
stars that shine from street banners and pack in
crowds. In "Leonardo da Vinci and the Splendor of
Poland," now making its last stand at the
California Palace of the Legion of Honor here, it's
a single painting by Leonardo: "Lady With an
Ermine."
The mesmerizing image of an elegantly attired young
woman cradling her exotic pet is only one of 75
European paintings from Polish collections
assembled for the show, which opened at the
Milwaukee Art Museum and moved on to the Fine Arts
Museum, Houston, before coming to San Francisco.
But the crowds probably wouldn't have been much
smaller if "Lady With an Ermine" were the only
picture in the exhibition.
"This is Leonardo at his most lyrically
compelling," critic Franz Schulze wrote in a review
of the show in Art and America magazine. That's
saying a lot for an artist who epitomizes
Renaissance genius.
The painting's appeal has nothing to do with size.
A mere 21 3/8 inches high and 15 1/2 inches wide,
it's smaller than a standard poster. What attracts
art specialists and the public alike is the
portrait's aesthetic quality and art historical
gravitas -- and a timely war story.
Sent from one hiding place to another during the
partitions of Poland, spirited off to Germany
during World War I and confiscated by the Nazis
during World War II, "Lady With an Ermine" is "a
national icon of survival for the Polish people,"
says Laurie Winters, a curator at the Milwaukee Art
Museum, who organized the traveling exhibition.
"The restitution of cultural heritage has really
come front and center in the last 10 years,"
Winters says. "And now, with the war in Iraq, we
are sensitive to the ramifications of that." The
fate of artworks in war-torn lands is "a lower
priority than human life," she says, "but at some
point it does become an issue."
Meticulously painted in oil and tempera on a wood
panel, the circa 1490-91 portrait is one of only 12
completed paintings by Leonardo, including a mere
three female portraits. Scholars regard "Lady With
an Ermine" as a stunningly "modern" marvel of human
expression.
"The woman looks out of the canvas, the animal
follows her gesture, and they are both full of
life," Winters says. "Leonardo painted this while
he was in Milan working on the 'Last Supper.' You
can see that he's really experimenting with the
human figure and gesture, and how that becomes part
of the storytelling."
In the opinion of British art historian John Pope
Hennessy, "Lady With an Ermine" is "the first
painting in European art to introduce the idea that
a portrait may express the sitter's thoughts
through posture and gestures. She seems to be
engaged with something beyond the picture."
Most visitors at the Legion of Honor are seeing
"Lady With an Ermine" for the first time. Unlike
Leonardo's other female portraits -- the "Mona
Lisa" at the Louvre in Paris and "Portrait of
Ginevra de' Benci" at the National Gallery of Art
in Washington, D.C. -- "Lady With an Ermine" is in
the collection of a relatively obscure museum, the
Princes Czartoryski Museum in Kraków,
Poland. "Lady" has been displayed in the U.S. only
once before, in 1992, at the National Gallery's
"Circa 1492" exhibition.
The portrait has traveled widely, however, and
therein lies the war story.
The lady in the painting is Cecilia Gallerani,
mistress of Duke Ludovico Sforza, Il Moro, who
commissioned Leonardo to paint the portrait while
the artist was working in the duke's court in
Milan. The ermine is a symbol of purity, but it
probably has more pointed meanings in this case.
The duke, who received the insignia of the
Chivalric Order of the Ermine from the king of
Naples in 1488, had an ermine on his coat of arms,
and the sitter's surname, Gallerani, is similar to
the Greek word for ermine, galee.
The duke never married his mistress, but she ended
up with the portrait. Her niece and heir, Camilla
de Predis, married into a wealthy family from Milan
and the painting remained in the family collection
for many years. After that, its whereabouts are
unknown until 1800, when a Polish prince, Adam
Jerzy Czartoryski, purchased it in Italy.
He bought the painting as a gift to his mother,
Izabela Czartoryska, a public-spirited aficionado
of art and literature. She lived on a park-like
estate in Pulawy in eastern Poland, but her
homeland had been reduced to the status of a
Russian satellite by Peter the Great and
partitioned three times by his successor, Catherine
II, and the rulers of Austria and Prussia. The
third partition, in 1795, was the beginning of a
123-year period of foreign domination. When Izabela
received the Leonardo, her primary residence was in
a region controlled by Russia, but she hadn't given
up her heritage.
"As early as 1797, she had this extraordinary,
quirky idea -- for a woman of her time -- to create
a museum that would help preserve the national
identity of the Polish people," Winters says.
Izabela founded the first public museum in Poland
in 1802, quartered on the estate.
"Izabela put her life on the line repeatedly to
keep the collection safe," Winters says. "We know
that on one occasion, she bricked up the Leonardo
in her cellar to keep it away from Russian
troops."
In 1830, during a national insurrection against
Russia known as the November Uprising, Russian
authorities seized the Czartoryski estate. By then
the princess was 84, but with the help of friends
she moved the Leonardo about 100 miles south, to
another family property in Sieniawa. Shortly
thereafter the painting was sent to Paris and
installed at the Hotel Lambert, a 17th century
palace on the Ile St. Louis that served as the
émigré seat of the Czartoryski
family.
The family returned to Poland in 1869, after the
death of Izabela, but they settled in
Kraków, which was under Austrian authority
and "more lenient," Winters says. The Leonardo was
moved in 1876 from Paris to Kraków where
Izabela's grandson, Wladyslaw, had established the
Princes Czartoryski Museum. In the spirit of his
grandmother, he opened the museum to the public in
the late 1880s.
Unfortunately, the story doesn't end there. "Lady
With an Ermine" was sent to Germany for safekeeping
and deposited in the Dresden Gallery during World
War I and returned to Kraków in 1920. It
remained at the Czartoryski museum until 1939, when
it was once again spirited off to Sieniawa to avoid
confiscation. But Nazi authorities soon learned of
its hideaway, took possession of it and put it on
display at the Kaiser Friedrich Museum in
Berlin.
In an odd twist of fate, Hans Frank, the German
general who was Hitler's head of operations in
Poland, saw the painting in Berlin in 1940 and took
it back to Kraków to decorate his quarters
at the Wawel Royal Castle. The painting was moved
to a depot of plundered artworks in Wroclaw in 1941
and briefly returned to Kraków for an
exhibition at the Wawel Royal Castle in 1943. But
Frank, who was apparently smitten with the painting
and determined to keep it, took it to his private
villa in Schliersee, Bavaria, near the end of the
war.
A Polish American commission found the painting at
the villa and returned it to Poland in 1946. "Lady
With an Ermine" has been the crown jewel of the
Czartoryski Museum ever since.
Other artworks in Polish collections didn't fare as
well. All museums in Poland were closed and their
collections were confiscated or destroyed during
the Nazi occupation. Inventories and archives were
obliterated as well, so it has been impossible to
calculate the full extent of the loss.
Another painting originally in the Czartoryski
Museum's collection, Rembrandt's "Landscape With
the Good Samaritan," was also found at Frank's
villa and sent back to Kraków after the
war.
And just last year, a late medieval Persian or
Mughal canopy that had been taken from the museum
by the Nazis turned up at the Los Angeles County
Museum of Art. The L.A. institution, which had
purchased the embroidered textile in 1971 from a
local dealer, returned it to the Polish museum. But
an immensely valuable painting by Raphael,
"Portrait of a Young Man," which was confiscated
with the Leonardo and the Rembrandt, is still
missing.
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Elke
Sommer - the
artist
E-mail
RE:
Information about
Elke
Autographed
Prints.
In
Europe, as well as America,
a name that
conjures a single image: A sensuous and classically
beautiful film star.
-----
To millions of fans,
Elke starred in more than sixty feature films and
many of television's most successful mini-series.
Elke is also a prize winning race car driver, an
award winning dramatic, a well a comedic actress; a
splendid stage director; top-ranked celebrity
tennis player, tournament winning golf player rand
best selling recording artist.
-----
Elke is also an
accomplished artist. Her critically acclaimed work
has been featured in 33 one-woman shows in major
galleries throughout the world. Recently, she
hosted a series, "Painting With Elke," on national
television and has authored a book on painting. Her
art consists of a wide array of art forms that
include oil, acrylic, water color, charcoal, and
sanguine.
After
making several films in Italy,
Elke was offered a
starring role in the British film "Don't Bother To
Knock," with Richard Todd. On her way, she was soon
hailed as the new European sex bomb. It was then
she joined the list of stars whose first name
suffice - like Gina, Sophia, Brigitte, and
Liz.
-----
Just about this time
Carl Foreman cast her in her first American film,
"The Victors." Immediately following she went on to
star in "The Prize", opposite Paul Newman and "A
Shot In The Dark" with Peter Sellers.
-----
Elke now resides in Bel
Air where she maintains her artistry business. If
you wish to know more about her art master pieces
just E-mail
to Smart90.com
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