Browsing by Author "Hallam, John S."

Now showing 1 - 3 of 3
  • Thumbnail Image
    Item
    Goya and the northern tradition
    (1985) Soler, Richard; Hallam, John S.; Brown, Katherine T.; Grayson, Marion L.
    The subject of this thesis is the influence of Netherlandish and German painting and prints on the work of Francisco Goya y Lucientes through 1799. Numerous Northern sources available to Goya in the royal collections are documented. Goya's work begins to show stylistic and thematic derivations in his tapestry cartoons, influenced by David Teniers the Younger whose prints and paintings had traditionally served as models for the Royal Tapestry Works. This influence, complemented by late fifteenth and sixteenth century prints, is examined in The Picnic, The Brawl at the Venta Nueva and The Wedding. Popular Northern themes -- the Unequal Couple, the Power of Women, the Vices, the Senses -- are identified in Los Caprichos. Iconographie and/or formal models are suggested in the work of Teniers, Brueghel, Bosch and others. Finally, it is shown that Goya's artistic theory, tacitly accepting Northern art, was a rejection of that of his predecessor, Anton Raphael Mengs.
  • Thumbnail Image
    Item
    Jean Auguste Dominique Ingres' Jupiter and Thetis
    (1985) Muntasser, Nayla Kabazi; Hallam, John S.; Camfield, William A.; Grayson, Marion L.
    The painting of Jupiter and Thetis was to be Ingres' vindication against previously hostile critics and the ultimate proof of his stature as a history painter. A definitive work in his oeuvre, it synthesizes all the intellectual, stylistic and visual influences to which he had so far been exposed. Ingres worked within the classical tradition, choosing his subject from Homer’s Iliad. The scene he chose to depict, however, was not one commonly represented and was inspired by an illustration by John Flaxman. His truly innovative achievement was in style, where he synthesized aspects of the linear treatment of Greek vase painting, illustrations of classical works and the style of Raphael. He studied a large number of relevant visual sources and used them as components of a new visual language. To understand Ingres' procedure is to comprehend his aesthetic beliefs. The Jupiter and Thetis expressed Ingres' ideals but was not appreciated by his contemporaries.
  • Thumbnail Image
    Item
    Thomas Sully's sketches of Robinson Crusoe in the Museum of Fine Arts, Houston (Texas)
    (1989) Kirksey, Kristal; Hallam, John S.
    The Museum of Fine Arts, Houston owns ten oil sketches by Thomas Sully (1783-1872) which depict episodes from Daniel Defoe's Robinson Crusoe. The ten paintings represent different events in Crusoe's twenty-eight year stay on an uninhabited island from the shipwreck which landed him there to his departure. He dated the first sketch 1856, and they were probably the preparatory studies for ten larger paintings of the same subjects which he completed in 1858. On the back of the first sketch Sully acknowledged his source for the sketches, illustrations by the English artist, Thomas Stothard (1755-1834) which were published in an 1820 edition of Robinson Crusoe. In addition to the Robinson Crusoe series, Sully painted many other literary subjects which have never been studied in any detail. Although Sully is known as a portraitist, these examples of his subject paintings indicate that they should be studied further.