Catalogue Raisonne Research Articles

현대역 된 고소설 출판물과 출판 유통 및 독서 환경의 변화

This paper is to examine empirically the pattern and distribution status of modern translations of classic novels in book subscription platforms, and to explore the revitalization plans of modern translation and distribution of modern translations of classical novels in the future book subscription platforms. This is considered one of the significant ways to increase even slightly the frequency of encounters between modern readers and classical novels now and in the future in a reality where the number of modern readers enjoying books through e-books is increasing among the gradual decline in overall reading rates. In addition, as a characteristic of book subscription platform, in the fact that the readers can use the books provided on the platform unlimitedly through the application by the payment of a certain fee, I think it could make the readers feel more at ease in terms of economics or convenience for their accessibility to the modern translations of classical novels.
 For this, the ‘Millie’s Library’, which begun to provide a monthly subscription service for the first time in Korea and provides a wealth of general books including novels, was first chosen as the main object of analysis. Prior to explore the future directions, I looked into the current state of modern translations of classical novels, which are currently distributed through ‘Millie’s Library’, a book subscription platform. As of August 2023, there were 329 modern translations of classical novels of 81 works which are distributed in ‘Millie’s Library’. It has been confirmed that various types of subtypes of classical novels are being translated into modern times, and a significant number of e-books published after 2020 are being distributed. Meanwhile, it was found that classical novel e-books with an e-book viewer function are being distributed compared to those without that, and there are many cases in which information about the translator is not recorded.
 Based on this, I considered about ways to revitalize modern translation and distribution of modern e-books of classical novels in conjunction with a book subscription platform. The plan for publication of the modern version is as follows: First, it is necessary to provide information on the translator, authorized translator, catalogue raisonne, and original script in the fact there is a need to expand the distribution of qualified modern e-books. Second, it is necessary to consider the form and function of being distributed e-books in terms of readability within the subscription service. Third, it is necessary to expand the categories and publishing media of modern translation publications like short contents such as Chatbook or Docent book. Next, the activation plan for distribution is as follows: First, it is necessary to verify the content quality and to expand the sharing through continuously securing qualified contents and consumers within the platform. Second, it is more actively necessary about curation methods like a curation of web novels or own humanities books within the platform.

On the canonical, fpqc, and finite topologies on affine schemes. The state of the art

This is a systematic study of the behaviour of finite coverings of (affine) schemes with regard to two Grothendieck topologies: the canonical topology and the fpqc topology. The history of the problem takes roots in the foundations of Grothendieck topologies, passes through main strides in Commutative Algebra and leads to new Mathematics up to perfectoids and prisms. We first review the canonical topology of affine schemes and show, keeping with Olivier's lost work, that it coincides with the effective descent topology; covering maps are given by universally injective ring maps, which we discuss in detail. We then give a catalogue raisonne of examples of finite coverings which separate the canonical, fpqc and fppf topologies. The key result is that finite coverings of regular schemes are coverings for the canonical topology, and even for the fpqc topology (but not necessarily for the fppf topology). We discuss a weakly functorial aspect of this result. Splinters are those affine Noetherian schemes for which every finite covering is a covering for the canonical topology. We also investigate their mysterious fpqc analogs, and prove that in prime characteristic, they are all regular. This leads us to the problem of descent of regularity by (non-necessarily flat) morphisms $f$ which are coverings for the fpqc topology, which is settled thanks to a recent theorem of Bhatt-Iyengar-Ma.

«Князь пейзажистов» в России: новые данные о работах Б. К. Куккука в императорских и частных коллекциях

The article provides new information on the collecting of paintings by B. C. Koekkoek in the Russian Empire and their fate. Barend Cornelis Koekkoek (1803–1862) was the greatest master of the romantic landscape in the Netherlands. Contemporaries called him “The Рrince of Landscape Painters”, his works had phenomenal success. B. C. Koekkoek was elected an honorary member of several European Academies of Arts (including St. Petersburg Imperial Academy of Arts). However, soon after his death the master was forgotten. For many years B. C. Koekkoek was known only to a narrow circle of specialists. Only in the second half of the 20th century the name of the painter returned from historical non-existence. The first acquaintance of the Russians with the work of B. C. Koekkoek took place in 1839, when being in The Hague, Cesarevich Alexander Nikolayevich ordered B. C. Koekkoek one of the largest paintings in the painter’s oeuvre. The picture was in the collection of the Imperial family until 1917, and then it ended up abroad. For many years, the canvas was considered lost. But its story has not ended: the landscape by B. C. Koekkoek was discovered by the author of the article in the Novokuznetsk Art Museum. We also managed to clarify the history of the other paintings by B. C. Koekkoek from the collections of members of the Imperial family and Russian aristocrats: for example, from the collections of Grand Duchess Maria Nikolaevna and Dmitry Petrovich Botkin. The fate of these paintings was unknown to art historians, including Friedrich Gorissen — author of B. C. Koekkoek’s catalogue raisonne. In addition, the article attempts the reconstruction of the history of “Landscape with a Herd” (1847, State Tretyakov Gallery, Moscow) by Mikhail Spiridonovich Erassi (1823–1898), a copy of the landscape by B. C. Koekkoek from the Russian private collection.

Carlo Cesare Malvasia's “Felsina pittrice”: Lives of the Bolognese Painters, Vol. 9; Life of Guido Reni. Lorenzo Pericolo, ed. and trans. 2 parts. With Elizabeth Cropper, Stefan Albl, Mattia Biffis, and Elise Ferone. London: Harvey Miller, 2019. 598 (part 1) + 526 (part 2) pp. €350.

Guido's career coincided with the explosion in Italy of an art market in the modern sense, and Malvasia marvels at its powerful effect. Pepper's catalogue raisonne of 1984 and various exhibition catalogues from the 1990s displayed more of Guido's artworks, some in color, so crucial for this artist. For now, however, and for a very long time, these superb volumes on Malvasia's Life of Guido Reni, and the others that constitute the larger project, will serve as a benchmark for ambitious research and unimpeachable scholarship, providing all who are interested in early modern art history a resource of the highest value.

The catalogue raisonné and art auction prices: the case of Berthe Morisot

The relation between the authentication source for artworks, the catalogue raisonne, and art prices is examined. Catalogue raisonne information such as the illustration page space allocated to each artwork and the use of color illustrations and plates in publications are viewed as measures of the quality or importance of artworks and hence may relate to prices. Empirically, instrumental variables sample selection models are used for the analysis of art auction data which recognizes non-sales and the measurement error associated with using catalogue raisonne information as measures of latent quality or importance. The approach is applied to oil painting auction data for the late nineteenth-century impressionist Berthe Morisot. After controlling for the effects of exhibitions, cited literature, painting size, the use of color, signed paintings, presence of females, early career paintings and fixed auction year effects on prices, the illustration page space allocated to a painting is found to importantly relate to prices for a catalogue raisonne of Berthe Morisot.

The Implicit Value of Arts Experts: The Case of Klaus Ertz and Pieter Brueghel the Younger

This paper investigates the impact of an art expert's opinion on the market price for Old Master Paintings. We focus on the case of Pieter Brueghel the Younger, a painter who massively reproduced the works of his well-known father Pieter Bruegel the Elder, after being in turn abundantly copied. In the late 1990s, leading expert Klaus Ertz curated an itinerant exhibition dedicated to the artist and published a catalogue raisonne' in 2000 to clarify attributions. We collected the sales of his paintings (autograph) as well as those from his atelier and followers (non-autograph) over the period 1972-2015. Using both difference-in-difference and instrumental variable techniques, we establish that Ertz's expertise had a significant effect on the prices of autograph works, since buyers were willing to pay roughly 60 percent more for works considered autograph after the late 1990s.

Catalogue Raisonné of the Work of Fidel Micó: A Case Study

AbstractThe Fidel Mico Catalogue Raisonne serves as an example of the type of research project a single scholar with limited resources can create. The author describes his methodology in exploring and documenting the works of the Cuban painter Fidel Mico, the obstacles he faces with provenance research, the challenges of compiling an accurate catalogue raisonne, and his goals for the project. Although the project is currently the work of an individual researcher, additional resources and scholarly collaboration could broaden the scope to increase its value for scholars of Cuban art.

Viewpoint: The Catalogue Raisonné Scholars Association (CRSA)

The catalogue raisonne has been the bedrock of art historical research since the late 18th century. It provides the broadest and most comprehensive record of an artist’s work and their historical context. One would think that the contours of the catalogue raisonné would be firmly established by now, and in some ways they are, but new developments in research, demand and publishing have created a moment of transition and rich dialogue concerning the future of this most traditional of art research publications. Changing attitudes toward authenticity, online access and publishing, digital citations and an evolving user base all affect the how a catalogue raisonné scholar completes and disseminates their research.

Camille Saint-Saëns, 1835–1921: A Thematic Catalogue of His Complete Works, Volume II: The Dramatic Works by Sabina Teller Ratner (review)

Camille Saint-Saens, 1835-1921: A Thematic Catalogue of His Complete Works, Volume II: Dramatic Works. By Sabina Teller Ratner. Oxford: Oxford University Press, 2012. [xx, 582 p. ISBN 9780198163213. $350.] Music examples, illustrations, appendices, select bibliography, index.The voluminous oeuvre of Camille Saint- Saens surely deserves a catalogue raisonne, if only to demonstrate the prodigious creativity of a most prolific composer and to document the eight-decade career of a major musical force on the world stage during the nineteenth and early twentieth centuries. Not surprisingly, its realization has required much time; the present volume follows the first (Sabina Teller Ratner, Camille Saint-Saens,1835-1921: A Thematic Catalogue of His Complete Works, Volume I: Instru - mental Works [Oxford: Oxford University Press, 2002]; reviewed in Notes 59, no. 4 [ June 2003]: 914-16) by a decade, while the release of the third installment, devoted to Saint-Saens's vocal and choral music, has not yet been announced. Volume I won the Vincent H. Duckles Award in 2004, given by the Music Library Association for the best book-length bibliography or other research tool in music that year. Accordingly, the bar is high for Volume II, but it does not disappoint.In her preface to Volume II, Sabina Teller Ratner describes the diversity of dramatic works profiled: The subjects of Saint-Saens's compositions range from the historical to the fantastic, encompassing biblical, classical, mythological and exotic themes, and works of Japanese, Persian, and Egyptian inspiration. Tragedy and comedy are both represented (p. ix). While Saint-Saens authored only one operatic libretto of his own, that for his Greekthemed one-act opera Helene (1904), Ratner relates that he often adapted and added to what his librettists gave him, and participated in performances of his works whenever possible, shaping and shepherding his artistic conceptions in an almost paternal way (p. ix). We also learn that some of Saint-Saens's inspiration for his dramatic works came from exploration in libraries and archives such as the Bibliotheque nationale de France, where, for instance, he encountered the dancing manual Orcheso - graphie (1589) of Thoinot Arbeau, which he recognized had informed the later Le maItre a danser (1725) of Pierre Rameau, so essential to understanding authentic eighteenthcentury dance (p. x). And it was at the Bibliotheque nationale, he admitted in a letter to the critic Camille Bellaigue cited by Ratner, where he collected the majority of the celebrated airs de danse so evocative of the French baroque included in his grand opera of 1890, Ascanio (p. x). Perhaps most surprising, Ratner reveals that Saint-Saens even studied the metric structure of Latin verse for rhythmic inspiration in composing the ballets included within his operas Henry VIII (1883) and Ascanio (1890), as well as his incidental music for the play Antigone (1893) (p. x). Such pre-compositional research surely anticipates what would become common among twentieth-century composers, especially those involved with neoclassicism.The body of Volume II features entries for Saint-Saens's operas, such as La princesse jaune (1872) and L'Ancetre (1906), as well as his ballet Javotte (1896), in addition to incomplete instances of these two genres. There are also entries for his incidental music, including the two plein air spectacles involving spoken text, symphonic interludes, choruses, and ballets originally conceived for the Arenes de Beziers, Dejanire (1898) and Parysatis (1911). But some readers might be surprised to learn that other separate sections of the book detail a variety of lesser-known works, like much briefer scenes lyriques and scenes dramatiques, plus one of the silent film scores, commissioned in 1908 for the historical drama L'assassinat du duc de Guise, as well as collections of comic episodes and melodramas. Further, there are short sections that profile Saint- Saens's additions to and restorations of other composers' works, including operas of Gluck, Lully, Rameau, and Charpentier, and a section devoted to some varia. …

Yellow Calla Lilies

As the United States plotted a path forward in the aftermathof theCivilWar,painter andprintmakerAnne Goldthwaite (1869-1944) blazed her own trail, albeit at odds with accepted roles for American women. Whether sketching home folk in the South, or chronicling Continental scenes when living abroad, she would imbue her observations with a sunny spirit reflecting the elan of her own interesting life. Born in 1869 in Alabama, Goldthwaite recalled her early childhood as a happy time, experiencing such joys as savoring sweet syllabub. On the walls of her grandparents’ home there hung copies in oil of works of old masters such as Raphael and Titian, which were duly noted by Anne. In coming years, after the untimely passing of her parents, Goldthwaite was obliged to live with an aunt in Alabama. At age 18, Goldthwaite was given a dance and reception. “There was nothing to do but to get invited to as many parties as possible and work hard to attract what beaux we could.” (Breeskin AD. Anne Goldthwaite: A Catalogue Raisonne of the Graphic Work. Montgomery, AL: Montgomery Museum of

Cornelis Schut: Nuevas pinturas identificadas en Bélgica y España

The seven newly identified paintings restituted here to Cornelis Schut are important additions to his Catalogue Raisonne , published in 1996. Following a discussion of the artist’s significance and relation to Rubens, the author traces his oeuvre in Spain in the past and present. Among these works, a signed and heretofore unknown Virgin and Child with St Anne that better relates to the print by Eynhoudts than the known replica in Namur. Other works with incorrect attributions in Belgian collections are restituted to the artist as well: two replicas in St. Gertrude’s College in Nivelles, a canvas in Pipaix, a St. Gertrude on her death bed , displaying an interesting iconography, in the church of Malinas, and two compositions of the Assumption of the Virgin , one corresponding to the known preparatory drawing in Warsaw, and the other to an engraving by Eynhoudts.

The Music Library of a Noble Florentine Family: A Catalogue Raisonne of Manuscripts and Prints of the 1720s to the 1850s collected by the Ricasoli Family now housed in the University of Louisville Music Library. Ed. by Susan Parisi, John Carr, Caterina Pampaloni, and Robert Lamar Weaver.

The title page of this book contains (in addition to the main title) further information about its contents and the individual contributions of those named above: ‘With essays on the History of the Collection and on Music in the Ricasoli Chapels and Households by Robert Lamar Weaver. Edited by Susan Parisi. Catalogue compiled by John Karr, Caterina Pampaloni, and Robert Lamar Weaver’. In her preface, Susan Parisi explains the recent history of the collection catalogued here. In 1984 an antiquarian bookdealer in Florence began offering for sale a large number of eighteenth- and nineteenth-century musical manuscripts and prints. Robert Weaver, who has devoted his life to the study of music in seventeenth- and eighteenth-century Florence, quickly recognized that this music came from a single private collection, which turned out to be that the Ricasoli family of Tuscany. Weaver felt strongly that the Ricasoli Collection should remain intact and accessible to scholars. He embarked on a campaign to raise money for its purchase, and as a result of his efforts the collection (except for the items sold individually before the purchase organized by Weaver) is now preserved at the University of Louisville, where Weaver taught for many years.

The Music Library of a Noble Florentine Family: A Catalogue Raisonné of Manuscripts and Prints of the 1720s to the 1850s Collected by the Ricasoli Family Now Housed in the University of Louisville Music Library ed. by Susan Parisi (review)

The Music Library of a Noble Florentine Family: A Catalogue Raisonne of Manuscripts and Prints of the 1720s to the 1850s Collected by the Ricasoli Family Now Housed in the University of Louisville Music Library. Edited by Susan Parisi. Essays by Robert Lamar Weaver. Catalog compiled by John Karr, Caterina Pampaloni, and Robert Lamar Weaver. (Detroit Monographs in Musicology/Studies in Music, no. 59.) Sterling Heights MI: Harmonie Park Press, 2012. [xiii, 482 p. ISBN 9780899901589. $85.] Illustrations, music examples, bibliography, index.The Ricasoli music collection represents one of the few rare cases of an aristocratic collection that has been preserved as such and has not been dispersed by wars, bankruptcies, or other common tragedies. The thorough study and complete catalogue provided by Robert Lamar Weaver and his team is a valuable record of musical practices in eighteenth-century Florence as they can be deciphered in the music scores preserved in the collection.The book starts with two essays by Weaver. The first is on the historical context of the collection and includes a welldocumented attempt to reconstitute its history and genesis. Pietro Leopoldo Ricasoli Zaninchi (1778-1850) was the collection's main architect. A musical prodigy, he played the organ, harpsichord, piano forte, violin, flute, and violoncello. The first acquisitions relating to his collection are listed under the year 1795: three organ sonatas commissioned by Pietro Leopoldo from the Florentine composer Luigi Pelleschi, maestro di cappella and the family's harpsichord teacher. Pietro Leopoldo's collection comprises 139 items, a large part of which is organ music, the rest being sacred vocal music and instrumental music.The beginnings of the collection, however, can be traced back further. Weaver identifies two women from notable families linked to music as the ones who began the collection. The first was the mother of Pietro Leopoldo, Giulia Acciaiuoli (1756-86). She was a descendant of Filippo Acciaiuoli (1637-1700), an extremely important figure in the operas given in Rome at the very beginnings of the genre. He was an impresario, famous for the scenic devices he produced for several spectacular operas by Jacopo and Alessandro Melani, Bernardo Pasquini, and Pier Simone Agostini, among others, as well as for the intermedi given at the Tordinona, the first public theater in Rome during the 1670-71 season. Giulia played the harpsichord and probably started the first part of the collection. The second woman is Pietro Leo - poldo's wife, Lucrezia Rinunccini (born 1779). Her father was a descendant of Ottavio Rinuccini, the librettist of the first Florentine operas, and her mother was a descendant of the Counts de' Bardi. She was an accomplished musician, playing several instruments, and kept her own collection (separate from her husband's), which contains only instrumental music (139 items, mostly sonatas and concertos). Another branch of the family, related to the baron Bettino Giuseppe Ricasoli Firidolfi(1739-1806), seems to have been responsible for the acquisition of operas and sacred music incorporated around 1831 in the Ricasoli Zaninchi library and preserved today in the collection.Weaver's second essay is devoted to the practice of music under Pietro Leopoldo Ricasoli. Apart from the private practice of instrumental music, Pietro Leopoldo organized performances of liturgical services in the family chapel from 1791 to 1796. For these performances he commissioned new music, mostly by Florentine composers such as Gaspero Sborgi (harpsichord teacher of Giulia, the mother of Pietro Leopoldo); Vincenzo Bianciardi, who composed ballets for the Cocomero Theater; Luigi Barbieri and Luigi Pelleschi, who were both engaged as teachers for the family's children; and Luigi Fanfani, maestro di cappella of the Duomo. The most important offices requiring music were the feasts of St. Aloysius Gonzaga ( June 21), St. Leopold (Novem - ber 15), and the Holy Relics (May 3). …

Masterpieces of Russian stage design, 1880-1930

'Masterpieces of Russian Stage Design 1880-1930' examines the Lobanov-Rostovsky collection of stage design, in turn outlining the history of modern Russian art: one of the most important interludes within the cultural renaissance of the early twentieth century. Unique in size, scope, and composition, the collection is unequalled; artists include celebrities such as Bakst, Benois, Goncharova, Larionov, Malevich, Popova, Rodchenko, and Tatlin as well as less familiar names such as Anisfeld, Lissim, Remisoff, and Soudeikine. This volume (the first of a two-part set) includes over 200 colour illustrations of selected designs as well as an introduction, interview, indices (to artists, theatre companies, and primary productions), a glossary of terms, and a comprehensive bibliography for the visual and performing arts in Russia. From Neo-Nationalism and Symbolism through Cubo-Futurism and Suprematism to Constructivism and Socialist Realism, Masterpieces of Russian Stage Design guides the reader through the movements, styles, productions and projects that attracted many of Russia s early twentieth-century artists to the stage. The companion volume, 'Encyclopedia of Russian Stage Design' ISBN: 9781851497195 (to be published in 2013), is the catalogue raisonne of the Lobanov-Rostovsky collection.

Earlier British paintings in the Walker Art Gallery and Sudley House

More than 300 paintings by British artists born before 1770 are featured in this catalogue raisonne. This is the first time that they have been addressed as a full group by period, and their strengths - and weaknesses - carefully examined. Artists featured include Fuseli, Gainsborough, Hilliard, Hogarth, Hoppner, Kneller, Raeburn, Reynolds, Romney, Stubbs and Joseph Wright. The Walker Art Gallery and Sudley House together house some of the best publicly owned art in the UK, with the works featured in this catalogue forming one of the most significant parts of these renowned collections. Drawing on his intimate knowledge of the paintings, Kidson provides a comprehensive overview of this important collection, weaving an eloquent path through the history of collecting and taste.

Arabic documents from the Cairo Geniza in the David Kaufmann Collection in the Library of the Hungarian Academy of Sciences—Budapest 1

Abstract This article gives an overview of the David Kaufmann Geniza (DKG)/Cairo collection of Arabic documents conserved at the Library of the Hungarian Academy of Sciences in Budapest. Almost entirely unpublished and unexploited, they are the subject of a catalogue raisonne in preparation by the author. Appendix 1 provides a complete list of the DKG documents that are in Arabic or somehow bear Arabic. In Appendix 2 one item of the collection, the text of a folio of the Kitāb al-fityān, a lost book by al-Jāḥiẓ, is published with two plates.

Marie-Louise von Motesiczky, 1906-1996: a catalogue raisonne of the paintings with a selection of drawings

Marie-Louise von Motesiczky, 1906-1996: a catalogue raisonne of the paintings with a selection of drawings

The diagnosis of art: Ernst Ludwig Kirchner's ‘nervous breakdown’

The diagnosis of art: Ernst Ludwig Kirchner's ‘nervous breakdown’

The Minimal Unconscious

Untitled (1967) is a work without an author. A three-and-a-half-foot red relief with six convex elements, it is easily identified as one of Donald Judd’s classic Progressions of the 1960s. And yet Untitled is nowhere to be found in Judd’s catalogue raisonne, which lists three other works of similar shape, size, and color from the same year.3 In fact, it was during the preparation of this volume that the work’s authenticity was questioned, leading to its expurgation from the Judd literature. A

Richard Parkes Bonington: the complete paintings

Only twenty-five at the time of his death in 1828, young Richard Parkes Bonington nevertheless was a seminal figure in the development of modernism in nineteenth-century French painting. This catalogue raisonne of his oil and watercolor paintings represents the first attempt to establish and present the artist's complete known oeuvre. Drawing on 25 years of research, Patrick Noon catalogues, analyzes, and reproduces 400 artworks now indisputably attributed to Bonington. Many of these paintings have never before been published. The book sets Bonington's achievement in the context of the intellectual, social, and artistic ferment of high romanticism in Paris and London, and it shows the profound effect of his style on his friend and contemporary, Eugene Delacroix, and many others. Noon's detailed and accurate study will inform all future discourse on Bonington and his remarkable legacy.