#franz anton bustelli

[saintedseb]

Saint Sebastian (c.1701-1770) - Circle of Franz Anton Bustelli

[acrosscenturiesandgenerations]

▪︎ Pipe Head.

Date: mid 1700's

Manufacturer: Nymphenburg Porcelain Factory

(German, founded 1747); Modeled by: Franz Anton Bustelli (Swiss, 1723-1763)

Place of origin: Germany, Nymphenburg

Medium: Porcelain

[wikimediauncommons]

file: Nymphenburg, franz anton bustelli, arlecchina, 1760 ca..JPG

[a-sculpture-a-day]

Harlequina, Franz Anton Bustelli, Nymphenburg Porcelain Manufactory, ca. 1763, hard-paste porcelain, MET. 

[dato-georgia-caucasus]

Franz Anton Bustelli - Der stürmische Galan, 1756

[frozenwolftemplar]

Harlequina. Franz Anton Bustelli for Nymphenburg Porcelain Manufactory (ca. 1763).

https://www.metmuseum.org/art/collection/search/206045

[harvard-art-museums-sculpture]

Swan cane handle, Franz Anton Bustelli, c. 1760, HAM: Sculpture

Harvard Art Museums/Busch-Reisinger Museum, Gift of Mr. and Mrs. H. Graves Terwilliger Size: 8.89 cm (3 1/2 in.) Medium: Hard-paste porcelain.

https://www.harvardartmuseums.org/collections/object/223197

[gagosiangallery]

Gagosian at Frieze New York

April 13, 2021

FRIEZE NEW YORK Rachel Feinstein and Ewa Juszkiewicz

May 5–9, 2021 The Shed, 545 West 30th Street, New York Booth B7 __________ Gagosian is pleased to announce its participation in Frieze New York at the Shed, the first in-person art fair of 2021 in the United States, with sculptures by Rachel Feinstein and paintings by Ewa Juszkiewicz. Inspired by Baroque and Rococo sculpture, religious iconography, Romantic landscapes, and popular culture, Feinstein explores taste and desire, synthesizing elegance and kitsch. Having once visited the Nymphenburg Porcelain Manufactory in Munich, she later located an online image of Rococo sculptor Franz Anton Bustelli’s commedia dell’arte figurines, posed on unique shell-like pedestals. In response, she worked with the legendary factory to produce scaled-up majolica porcelain versions of the pedestals. In Feinstein’s works, viewers can imagine taking the place of the commedia dell’arte characters and trying on their removable porcelain shoes for size. The sensual abstract forms of Chinoiserie, Corine, and Mezzetino (all 2018), titled after Bustelli figurines, suggest the human form through its conscious omission. Built to the scale of Feinstein’s own body, they allude to the greatness of the Rococo era and the demise of European high craftsmanship. Corine was included—along with Octavio, another sculpture from the same series—in Feinstein’s exhibition Secrets at Gagosian Beverly Hills in 2018; all four works were installed in Regent’s Park for Frieze London later the same year. Corine was also featured in Feinstein’s recent major survey exhibition, Maiden, Mother, Crone, at the Jewish Museum, New York. Juszkiewicz’s meticulously precise oil portraits also draw on traditions of classical European painting—her sources date from the Renaissance through the nineteenth century—but with added touches of the surreal, the fantastical, and the grotesque. By obscuring her subjects’ faces—a strategy that recalls René Magritte’s painting Le fils de l’homme (The Son of Man) (1964)—she deconstructs conventional ideals of feminine beauty to evoke the suppression of female identity that permeates the Western canon. In five new paintings, Juszkiewicz “paraphrases” portraits by Johann Ender, Rembrandt Peale, Joseph Karl Stieler, and Elisabeth Louise Vigée Le Brun, rendering richly colored leaves and flowers—mixed with hair, wigs, and heavy fabrics—in startling detail. The resultant hybrid figures teeter between reserve and uninhibitedness, nature and culture, human and nonhuman. They relocate—as do Feinstein’s sculptures—the ghosts of women past firmly in the present. Rachel Feinstein was born in 1971 in Fort Defiance, Arizona, and lives and works in New York. Collections include the Lever House Art Collection, New York; RISD Museum, Providence, RI; Los Angeles County Museum of Art; and Hall Art Foundation, Reading, VT. Solo exhibitions include Tropical Rodeo, Le Consortium, Dijon, France (2006); The Snow Queen, Lever House, New York (2011); Folly, Madison Square Park, New York (2014); and a survey exhibition, Maiden, Mother, Crone, Jewish Museum, New York (2019–20). Group exhibitions include The Americans: New Art, Barbican Art Gallery, London (2001); Candyland Zoo, Herbert Read Gallery, Kent Institute of Art and Design, Canterbury, England (2004); Something About Mary, The Metropolitan Opera, New York (2009); The Little Black Dress, SCAD Museum of Art, Savannah, GA (2013); L’Almanach 14, Le Consortium, Dijon, France (2014); and No Longer / Not Yet, Minsheng Art Museum, Shanghai (2015). Ewa Juszkiewicz was born in 1984 in Gdańsk, Poland, and lives and works in Warsaw. Collections include Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw; Muzeum Narodowe w Gdańsku, Gdańsk, Poland; Zachęta Sztuki Współczesnej w Szczecinie, Szczecin, Poland; Towarzystwo Zachęty Sztuk Pięknych w Olsztynie, Olsztyn, Poland; and Galeria Bielska BWA, Bielsko-Biała, Poland. Solo and two-person exhibitions include How It Is, Asks Agnisia, That We See a Teddy Bear in the Painting, Otwarta Pracownia, Krakow, Poland (2011); Rosamunde, the Princess of Cyprus, Centrum Kultury Katowice, Poland (2012); Things We Don’t Talk About, Bałtycka Galeria Sztuki Współczesnej, Słupsk, Poland (2013); Descent Beckons, Galeria Bielska BWA, Bielsko-Biała, Poland (2015); and Giacinto Cerone | Ewa Juszkiewicz, Cabinet, Milan, Italy (2019). To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com.To attend the fair, purchase tickets at frieze.com/fairs. _____ Left: Rachel Feinstein, Corine, 2018, majolica, 51 1/4 × 37 3/8 × 49 1/4 inches (130 × 95 × 125 cm), 1 of 4 unique versions © Rachel Feinstein. Photo: Jeff McLane. Right: Ewa Juszkiewicz, Untitled (after Elisabeth Vigée Le Brun), 2021, oil on canvas, 63 × 47 1/4 inches (160 × 120 cm) © Ewa Juszkiewicz

[aufwegig-blog]

Weißes Gold und königliche Aussichten

Wenn die Tage wieder länger werden, die Berge schneefreier, wird es auf den gut zu erreichenden Aussichtsgipfeln wieder voller - der Grünstein, König Watzmanns kleiner, gutmütiger Bruder, ist da eher Regel als Ausnahme. Das Panorama mag ich mir aber hin und wieder dennoch nicht entgehen lassen, besonders im Frühling, wenn der Watzmann ab der Kühroint noch im Winterschlaf liegt und der Weg hinüber durch ein Schneerosenmeer führt.

Die Aussicht über Berchtesgaden ist, und das ist fast noch untertrieben, großartig: die Natur läuft den Baudenkmälern im Berchtesgadener Land weitgehend mühelos den Rang ab. Die Bayerische Schlösserverwaltung ist immerhin noch mit St. Bartholomä vertreten, aber die Stars im Kielwasser von Watzmann und Hochkalter sind andere.

Das Königliche Schloss Berchtesgaden kommt bereits im Ortsbild eher bescheiden daher, dabei ist seine Geschichte eigentlich interessanter und erzählenswerter als beispielsweise die von Ludwigs in jeder Hinsicht phantastischen Schlössern,

Die Ursprünge des Schlosses sind unverkennbar: weder herrschaftlicher Repräsentations- noch funktioneller Wehrbau sondern zunächst Augustiner Chorherrenstift wird der Gebäudekomplex, geprägt von zahlreichen Um- und Erweiterungsbauten aus Romanik, Gotik, Renaissance und Barock, von der Stiftskirche dominiert. Als fürstbischöfliche Residenz wurde das Stift 1803 mit dem Reichsdeputationshauptschluss aufgelöst; 1818 - zwischen 1803 und 1810 fiel das ehemalige reichsunmittelbare Fürstentum Berchtesgaden zunächst an Salzburg, dann ans kaiserliche Österreich, schließlich sogar ans napoleonische Frankreich und schlussendlich ans Königreich Bayern - wurde das nun Königliche Schloss Berchtesgaden Sommerresidenz Maximilian I. Insbesondere Max II. mit seiner bergbegeisterten Frau Marie von Preußen sowie später sein Bruder Prinzregent Luitpold, dessen Sohn Ludwig III. und Kronprinz Rupprecht verbrachten viel Zeit in Berchtesgaden.

Was fehlt: ein bisschen Glamour vielleicht. Dafür hat das Schloss, gerade weil es bewohnt wurde (und zeitweise noch bewohnt wird) seinen ganz eigenen Charme; man kann sich gut vorstellen, wie die Kinder im Obergeschoss entlang der ehemaligen Zellen der Chorherren durch den Flur getobt sind, wie sie unter den wachsamen Augen Max Emanuels - Portraits des Blauen Kurfürsten finden sich erstaunlich viele: auch wenn heute vielleicht andere einen klangvolleren Namen haben, Max Emanuel ist Bayerns heimlicher historischer Superstar - gemessen und ihre Größen am Türstock festgehalten wurden (unter ihnen Ludwig II. und Sisi). Und plötzlich stolpert man, zwischen Seidentapeten und Intarsienschränkchen, über ein Gummischwein auf einem Sims: das Lieblingsspielzeug des Hundes des Hausherrn. Charmanter und unprätentiöser kann lebendige Geschichte kaum sein.

Ein Highlight sind zweifellos die Schlossführungen bei Kerzenlich im Winter; in der Weihnachtszeit steht neben dem großen Esstisch ein nach historischem Vorbild ganz in Silber geschmückter Baum, und im Kerzenschein glänzt ein ganz besonderes Prunkstück: der Tafelaufsatz aus Nymphenburger Porzellan, Lustwandeln en miniature.

Nicht einmal im Bayerischen Nationalmuseum ist ein so vollständiger Satz ausgestellt, dort kann man jedoch die Figuren aus der Nähe betrachten: Ponhausers Entwürfe sind schön - aber Bustelli brachte das überbordende höfische Lebensgefühl des Barock wie kein zweiter zum Ausdruck.

Was gerade Bustellis lebensfrohe Figuren, die sich unbekümmert dem sinnlichen (Garten-)Vergnügen hinzugeben scheinen, beinahe vergessen machen: für ungezähmte Natur war in all der barocken Opulenz kein Platz. Blumenparterre, künstlich angelegte Wasserläufe und Seen, sorgsam gepflegte Boskette - die Natur hatte sich festen Regeln zu fügen und war im barocken Selbstverständnis wie in der Kunst eher Leinwand als Motiv.

Es bedurfte erst eines generell abnehmenden Interesses an religiöser Kunst, insbesondere der Malerei, und der wachsenden Popularität romantischer Strömungen, ehe tatsächlich nicht (mehr) zweckgebundene Naturdarstellung nachaltig in den Fokus der Maler rückte: ein langer Weg über Barbizon zu den Impressionisten, Post-Impressionisten und schließlich Expressionisten, die eine völlig andere Auffassung der Natur und ihrer Schönheit umsetzten.

Der Kontrast zwischen dem Nymphenburger Porzellangarten, der das Naturverständis des Barock auf den Punkt bringt, und der rauen Schönheit der Berchtesgadener Alpen könnte kaum größer sein - und kaum reizvoller.

[pkmntrainergreyze]

Sleep (Mikey Way x Reader)

Tried making this short. Noticed most of my stories are 1k to 2k words so…

I know it’s late and I don’t celebrate Valentine’s, but please know that you are loved, no matter what day it is ❤

———

(Y/n) fell flat on Mikey’s guestroom bed. Her eyes conveyed smudged dark concaves. Her features yelled her fatigue, yet even at 6 am she couldn’t sleep.

She wriggled in his provided skimpy blanket. Not one comfy position. She shut her eyes and awaited for a truant wave of drowsiness. No luck.

She whimpered.

She hooked her nails deep on her bestfriend’s pillow. Her footsteps resonated while she strutted down the silent hall.

“Mikey…” She whispered.

The blonde, who was previously watching Netflix, craned his neck. He looked youthful, he could be easily mistaken as a nineteen year old. She’s quite jealous. Nothing can disturb her more than the fact there is no sign of sleep deprivation in him. Except for the stench of coffee oozing when he talks, most agreed it’s part of his charisma.

“Yeah?” He asked, not moving from the couch.

“I can’t sleep” She pouted.

He scoffed and raised an eyebrow. Oh really? No shit.

He continued navigating his movie options.

“Don’t look at the clock, read books, or something. I don’t know. I’m still not Quora or Yahoo Answers… Zzzz…”

He began the fifth episode of The Umbrella Academy, gambling time to support both Gabriel and his brother’s comic’s Netflix adaption.

His response did not please (Y/n) nor was she offended. She developed full immunity against his unhelpful remarks. She tried them all in the past, in addition to chamomile tea and coloring books, but none kicked it.

Miracles and concerts can possibly make her sleep, but Mikey’s list? That ain’t it, chief.

She sat beside him and rested her head on top of his shoulder. He pretended to remain unfazed and skipped the episode’s intro.

‘This was just what bestfriends do at slumber parties’ he supposed.

He gulped.

‘Alarmingly, slumber parties with (Y/n) invited means no sleeping nor party. Instead of putting her to sleep. I’ll be awake till 6am’

Mikey snaked his hand around her waist. He learned the hard way that Movies intensifies her insomnia so he placed a pillow above his lap, prompting her to lay there as he turned the TV off.

He combed her hair with his slender calloused fingers. This always relaxed her, and step one is always comfort.

“How do you sleep?” She asked yet again, like every other night she calls.

“I close my eyes and don’t think” If Mikey sounded monotone, then he’s robotic now.

“You know I can’t do the last part…” (Y/n) muttered.

“Then I’ll have to tire you out by thinking a lot”

-

“Wait, so you’re saying that unicorns aren’t real cause it’s not in bible?” He whisper-yelled. The outburst raised her eyebrow, but nothing she ain’t used to.

Reluctantly, she answered “Umm yeah, and there’s no actual records of horses with a horn and a lion’s tail”

He scoffed “Bullshit. The Englishmen have documented and seen shit”

“Sorry to burst your bubble sweetie, do me a favor and buy a Merriam English dictionary. It’ll clearly state it’s an imaginary animal”

Sweetie.

She called me sweetie.

That’s so adorable—

His face hardened. No. Unicorns, Mikey. Think Unicorns. Be the sass princess middle school girl you truly are.

“Unicorns aren’t real Mikey” He mocked (he really only had the confidence to say this after punching poor Ryan)

“Who are you? Mr Ross from AP Chemistry?” He referred to the Professor who argued the same point (Y/n) had.

She shook her head in disappointment “Better than a mid-twenties man who still watches My Little Pony”

He bobbed his head “Yeah, you got me”

She blinked a couple of times and pinched her cheek roughly. A load of air piled in her lungs as she began to shake.

“Did you just—” She gawked “Did you just smirked?!”

His face solidified “No.”

“I swear I saw you smiled just earlier” She exhaled in disbelief.

“For twelve straight years I thought you were a robot!” She placed a hand on her mouth and proceeded to muffle her squeal.

He may look calm and ready but inside he’s as nervous as teenagers on remedial exams. Not now. Damn it, he’s saving that grin for a special occassion! This is so anticlimactic.

Fuck! What to do, what to do.

His caffeinated eyes rambled everywhere. The television, his remote, the poster Gerard superglued in his kitchen and a spectroscopic dust became the most intriguing items in the planet. It was amusing, especially for (Y/n) who counted the unbreakable strike now shattered in both their faces.

Suddenly, with fidgety hands the younger Way lifted and carried her to bed. Course, she didn’t complain, she opted it as a sign of weakness and forfeit and talked nonstop. She’d be lying if she said this didn’t caused her internal butterflies to flutter, but who’s asking?

He gently laid her down the bed. Before she could sit down and mock him more, he snatched her wrists and pushed her down.

“Alright” He said shakily “H-hate to break it to you (Y/n), but you’ve been lucid dreaming this whole time and you know it”

She giggled “No I’m not—

Mikey plastered the pillow to her face, almost suffocating her. Or maybe that was the point?

“Go. To. Sleep.” He whispered to her free ear “You’re dreaming (Y/n), wake up!”

She sounded like she was saying “but!”, but it was muffled.

“Shh…” He removed his grip and scooted beside her “Sleep.”

She rolled her eyes. There’s no way he’d let her speak. She knew whenever Mikey puts his mind on something he can accomplish anything. This is one of those scenarios.

Then again, she does feel tired… Quite the shocking rumor huh?

There she is, looking like a drop dead porcelain doll in Mikey’s arms, more artistic than a Franz Anton Bustelli masterpiece.

His eyes batted at the realization of burden close to his chest. He can’t move. She looks exceptionally peaceful in his arms, and there’s no alternate universe in which he’ll pass the opportunity not to absorb her features. In fact, in the first two minutes there’s a list of details in his head already.

And those little things gravitated his face a kissing meter away from her.

He shut his eyes. This is it. The moment he shook, daydreaming about for so long he can barely remember the beginning of this fantasy.

Their first kiss.

The situation felt so good to be true. Just a peck and he’d he satisfied.

He flinched.

No.

It wouldn’t feel right sealing her first kiss when she’s asleep.

It would be his first kiss and her goodnight sleep.

He considered it long before he seperated himself tenderly, and replaced a pillow for her to snuggle. This night isn’t about him, it’s about her, and if he had to wait long for her to sleep, then he had to wait longer for their kiss.

Believe me, that was an excruciating decision. It’s so easy to entice his temptation that he nearly did both him and her dirty.

But it was the best thing to do.

It’s 2am, birds are already warbling outside and the aroma of coffee is as strong as yesterday. On Mikey’s path out of the room, he casted his gaze to (Y/n)’s face one last time. He scowled.

“I’d rather let her see me smile than no one at all”

—-

Why do i reference my old fanfictions? I don’t know either

BUT THE UMBRELLA ACADEMY MAN, WATCH IT. I’m trash for the comics so much that I will take whatever crap happened in the Netflix Adaption

Update: I finished it. So good. There are tons of changes from what I read from the comicscbut still a series worth watching. Plus, we get to see more of Ben and Delores unlike the comics :D

Trust me, it’s good

P.S:

I know it’s a shameless self promotion but I’ve busied myself making a The Umbrella Academy [mainly the apocalypse suite] in a nutshell video.

So far I’m just in the introduction:

https://youtu.be/miQzxV2IPtg

[met-european-sculpture]

Beggar by Franz Anton Bustelli, European Sculpture and Decorative Arts

Medium: Hard-paste porcelain

The Jack and Belle Linsky Collection, 1982 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/207116

[the-met-art]

Minerva by Franz Anton Bustelli, European Sculpture and Decorative Arts

Medium: Hard-paste porcelain

Gift of R. Thornton Wilson, in memory of Florence Ellsworth Wilson, 1943 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/199367

[harvard-art-museums-sculpture]

Swan cane handle, Franz Anton Bustelli, c. 1760, HAM: Sculpture

Harvard Art Museums/Busch-Reisinger Museum, Gift of Mr. and Mrs. H. Graves Terwilliger Size: 8.89 cm (3 1/2 in.) Medium: Hard-paste porcelain.

https://www.harvardartmuseums.org/collections/object/223197

[gagosiangallery]

On view—Rachel Feinstein at Frieze Sculpture 2018, London

July 21, 2018

Rachel Feinstein's sculptures Octavio, Corine, Mezzetino, and Chinoisie, are currently on view at Regent's Park, London, for Frieze Sculpture 2018. "While visiting the Nymphenburg Porcelain Manufactory in Munich, Feinstein was struck by the intricately detailed commedia dell’arte figurines designed by rococo sculptor Franz Anton Bustelli. Each of Bustelli’s characters, theatrically posed, nestles into a unique pedestal; organic, shell-like forms with gilded edges. Feinstein produced scaled-up versions of the pedestals in the form of garden seating, inviting viewers to assume the place of the costumed figures, and to attempt to try on their buckled, period shoes. Titled after their respective characters, the pearly white pedestals become strangely erotic abstractions, suggesting the body by its absence." —Clare Lilley, Curator https://www.gagosian.com/news/2018/06/05/1701 __________ Images: Installation views at Frieze Sculpture 2018, Regent's Park, London, United Kingdom. Artworks © Rachel Feinstein. Photos: Lucy Dawkins

[catholicpriestmedia]

"Intense love does not measure, it just gives."  - #SaintTeresaofCalcutta . 📷 'Corpus' by Franz Anton Bustelli/Metropolitan Museum of Art (PD-Art) #SacredArtandImages #Catholic_Priest #CatholicPriestMedia