Museo francisco oller: Museo de Arte Francisco Oller

Francisco Oller | Museo de Arte de Puerto Rico

Exhibitions

Solo Shows

1983

  • Museo de Arte de Ponce, Ponce, Puerto Rico

1959

  • Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, Rio Piedras Campus, San Juan, Puerto Rico

1948

  • Universidad de Puerto Rico, San Juan, Puerto Rico

1893

  • Palacio de Santurce, San Juan, Puerto Rico
  • Palacio de la Correspondencia de Madrid, Madrid, Spain

1868

  • Sociedad Económica de Amigos del País, San Juan, Puerto Rico
Group Shows

2013

  • Interconexiones: Lecturas Curatoriales de la Colección del MAPR, Museo de Arte de Puerto Rico, San Juan, Puerto Rico

2007

  • Contexto puertorriqueño: del rococó colonial al arte global, Museo de Arte de Puerto Rico, San Juan, Puerto Rico
  • Mi Puerto Rico: Master Painters of the Island, 1780-1952, Museo de Arte de Ponce, Ponce, Puerto Rico; Newark Museum, Newark, New Jersey, United States

2006-2007

  • Mi Puerto Rico: Master Painters of the Island, 1780-1952, Worcester Art Museum, Worcester, Massachusetts, United States

1992

  • Oller, Rodón, Campeche, Pabellón de Puerto Rico, Sevilla, Spain

1987

  • Puerto Rican Painting: Between Past and Present, The Squibb Gallery, Princeton, New Jersey, United States

1973

  • La herencia artística de Puerto Rico: época precolombina al presente, Museo del Barrio, New York; Metropolitan Museum of Art, New York, United States

1962

  • Dos siglos de pintura puertorriqueña, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico

1929, 1931, 1933

  • Exposición de Arte e Historia, Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, Rio Piedras Campus, San Juan, Puerto Rico

1908

  • Ateneo Puertorriqueño, San Juan, Puerto Rico

1878, 1881

  • Exposición Nacional, Madrid, Spain

1875

  • Salón des Refusés, Paris, France

1854

  • I Exposición Publica de la Industria, Agricultura y Bellas Artes, San Juan, Puerto Rico

Bibliography

Books

Delgado Mercado, Osiris. Historia de la pintura en Puerto Rico. Vol. 8, La Gran Enciclopedia de Puerto Rico. Madrid: Ediciones R, 1976.

 

Ferreras Pagan, J. Biografía de las riquezas de Puerto Rico, dos tomos. San Juan,

 

Catalogues

Benítez, Marimar; Hartup, Cheryl. Mi Puerto Rico : master painters of the island, 1780-1952. P.R. : Museo de Arte de Ponce, Ponce, 2006

 

José Campeche, Francisco Oller. Ateneo Puertorriqueño, San Juan, 1940.

 

Dávila, Arturo. José Campeche: Catálogo razonado, San Juan: Instituto de Cultura Puertorriqueña, 1971

 

Oller 1833-1917, Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, Recinto de Río Piedras, San Juan, 1948.

 

Francisco Oller, Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, Recinto de Río Piedras, San Juan, 1959.

 

Paniagua Oller, Ángel. Biografía y catálogo de obras de Francisco Oller, 6 de junio de 1917 (manuscrito).

 

Newspapers

Atribuyen a Oller y Campeche, Óleos en la Iglesia de Coamo, El Mundo (San Juan, PR),, 30 de mayo de 1963.       

                

Barrera, Héctor. Cuadro de un puertorriqueño en el Louvre, Escuela, San Juan, Puerto Rico, 5 de septiembre de 1956, pág. 6.

 

Boehm Oller, Emma. Francisco Oller, un pintor impresionista, Américas. XIX, octubre de 1976, págs.. 22-27.

 

Campeche, Oller y Ríos, en la Universidad de Puerto Rico. Periódico El Mundo (San Juan, PR), 5 de mayo de 1948.

 

Carreras, Carlos N. Vida y Obra de Francisco Oller y Cesteros, El Mundo (San Juan, PR), 7 de julio de 1935.

 

Corretjer, Juan Antonio. El Velorio, Periódico El Mundo (San Juan, PR), 25 de julio de 1959.

 

__________________. Oller  Retratista, Periódico El Mundo (San Juan, PR), 1 de agosto de 1959.

 

__________________. Oller Pintor de Naturaleza Muerta, Periódico El Mundo (San Juan, PR), 8 de agosto de 1959.

 

Lopez Laborde, Jacinto. Homenaje al Ilustre Señor Francisco Oller de su Discípulo y Amigo, The Times (San Juan, PR), Puerto Rico, 8 de junio de 1917.

 

Martínez Plee, M. Don Francisco Oller, La Correspondencia de Puerto Rico El Mundo (San Juan, PR),26 de mayo de 1917.

 

Montalvo, William H. Cuadro de Francisco Oller se exhibe en el Museo del Louvre, El Imparcial, San Juan, 16 de agosto de 1956.

 

Oller, Francisco. Conocimientos necesarios para dibujar de la naturaleza y elementos de perspectiva al alcance de todos, El País (San Juan, PR), 1868 y 1902

 

Paniagua Picazo, Antonio. Francisco Oller, Exponente Máximo de la Pintura Puertorriqueña, El Imparcial, San Juan, 16 de junio de 1946.

 

Seijo Bruno, Miñi. La protesta social en la pintura de Francisco Oller, Claridad, 17 de junio de 1975.

 

Magazines

Delgado Mercado, Osiris. Sinopsis histórica de las artes en Puerto Rico: Departamento de Instrucción Pública, San Juan, 1957.

 

___________________. Oller, Cézanne, Pissarro, Revista del Instituto de Cultura Puertorriqueña, III, núm. 7, abril-junio, 1960, págs. 8-12.

 

Fernández Náter, Amparo. El pintor Oller, Magazine Hispanoamericano, 1914, págs. 138-141.

 

Gaya Nuño, Juan Antonio. Dos paisajes franceses de Francisco Oller, Revista del Instituto de Cultura Puertorriqueña, abril- junio de 1962, págs. 1-4.

 

Hostos, Adolfo de. Francisco Oller, Boletín de la Academia de Artes y Ciencias de Puerto Rico, San Juan, Puerto Rico, vol. V, núm. 2, abril-junio de 1969, págs. 198-204.

 

Ruíz de la Mata, Ernesto. Apuntes sobre Francisco Oller, Revista del Instituto de Cultura Puertorriqueña, San Juan, XIV, núm. 52, julio-septiembre de 1971, págs. 23-28. 

About ◆ El Museo – Buffalo, NY

Awards reception for Elevate: A side-by-side exhibition with Buffalo Public Schools, March 2019.

We are hiring a new Executive Director. See the job description here.

Mission
El Museo is a 501(c)3 nonprofit, visual arts organization dedicated to the exhibition of contemporary work by diverse artists and cultures.

Vision
El Museo provides programming and supports Western New York in cultivating a future where our communities are stronger because of the presentation and support of diverse artists and cultures.

Beliefs
El Museo believes that:
• People of color and historically marginalized artists provide critical access to the unique heritage in Western New York provide exposure in the world that communicate the depths of human experience.
• Art that is theoretically independent exemplifies creativity.
• Experiencing and making art is an opportunity to encounter the ideas and experiences of those who are different from ourselves, to better understand our diverse community, heal, and challenge us to widen our horizons.

Approach
El Museo provides programming that will contribute to a truly equitable future. These include:
• Targeting the presentation of outstanding artists who are people of color, and from historically marginalized communities through exhibitions, education partnerships and workshops, and community arts experiences.
• Contextualization of cultural identities with the presentation of all programs, including heritage, strengths, and contemporary influences.
• Internships and apprenticeships for young and emerging artists, to cultivate future leaders. Collaboration with Western New York peers in prioritizing and showcasing the experiences of people of color and those from historically marginalized communities, and supporting the robust future of these people in Western New York’s cultural community.

In the 1970s, following the civil rights movement and a renewed emphasis on diversity politics and multiculturalism, cultural organizations proliferated working to represent minority groups and recognize their contributions to our common heritage. It was in this spirit that a group of young Latino artists primarily associated with the University at Buffalo formed the Latino Artists Collective in 1977 to promote Latino/a, Latin American, and Caribbean fine art in the region.

Without a permanent home, the collective became known for street corner drama, poetry, and literary readings. Meanwhile, visual artists in the group started a program called Gallery Without Walls, staging temporary art exhibitions in various locations on the West Side of Buffalo. In 1981, this program formalized to become El Museo Francisco Oller y Diego Rivera, honoring two of the most esteemed Puerto Rican and Mexican artists, respectively. Since then, we have expanded our mission to include all underserved groups including people of African, Latino/a, Asian, Arab, and Native American descent, women artists, and our region’s growing population of immigrants and refugees. In 1997 we moved into our current space on Allen Street and have since presented numerous exhibitions and public programs promoting diversity and inclusion, dialogue, and excellence in the arts and humanities.

Over the years, many organizations like us have come and gone due to funding cuts, lack of constituent support, and perhaps a general apathy towards maintaining them. El Museo is Western New York’s only nonprofit visual arts organization dedicated to the exhibition of work by underserved artists, occupying an important position in our region’s longstanding and recently resurgent arts and cultural scene. We are proud to have been a lasting presence in our community, as a space where one may encounter the other through art, where artists can interface with the public and challenge us to widen our horizons.


Transition Management Consultant

Cynnie Gaasch

Gallery Assistant

Desiree Kee

Founding Director Emeritus

Craig Centrie, Ph.D

Board of Directors

Michael Parks – President
Craig Centrie, Ph.D – Treasurer
Barbara Carr – Vice President
Michele Agosto
Celeste Lawson

Community Board of Advisers

Virginia Batchelor, Ph.D
Lawrence Brose
George Campos
Reine Hauser
Glendora Johnson-Cooper
Cheng Yang “Bryan” Lee
Mary Ellen Mulvey
Gerald Mead
Maiko Tanaka
William Vogel
Nestor Zarragoitía

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    Cesare da Sesto — frwiki.

    wiki0003

    Baptism of Christ — Cesare da Sesto and Bernazzano

    Cesare da Sesto (born in 1447 in Sesto Calenda, in what is now Varese, then in the Duchy of Milan and died on

    listen)) is a Lombard painter, noted for the influence and teachings of Leonardo da Vinci and later his meeting in Rome with Raphael.

    Summary

    • 1 Biography

      • 1.1 Years of apprenticeship
      • 1.2 Roman years
      • 1.3 Sicilian years
      • 1.4 Return to Milan
    • 2 Works
    • 3 Notes and references

    biography

    Years of apprenticeship

    Although he is never mentioned by Leonardo da Vinci in his notebooks, Cesare da Sesto is considered one of his students, probably at the end of Leonardo’s first stay in Milan (between 1482 and 1499). His style and inspiration will forever be marked by this influence. Leda and the Swan Wilton House is a copy of a now defunct painting by Leonardo da Vinci and Madonna and Child with Lamb from Poldi Pezzoli in Milan (probably painted around 1515) is a variant of Saint Anne, the Virgin and Child Jesus from the Louvre .

    Roman years

    We find him in Rome in 1508, where he would have received his first commission from Julius II for the Hall of Heliodor ( Stanza di Eliodoro ) and frescoes for the aviary ( ucceliera ), now destroyed in the Vatican. Undoubtedly, it is on this occasion that he meets Raphael, since here again the iconographic program of the Chamber of Heliodorus, originally entrusted to Luca Signorelli, Bramantino, Lorenzo Lotto and Cesare himself, is repeated.

    Until 1511, he painted Christ suffering from his donor , today in the Museo Capodimonte in Naples. The donor is identified with Cardinal Oliviero Carafa, Archbishop of Naples, one of the most important figures in the Roman Curia.

    He collaborates with Baldassare Peruzzi, whom he follows to Ostia from 1511 to 1513, to paint the frescoes of the Episcopal Palace, when Cardinal Raffaele Riario, nephew of Julius II, comes there to settle. These are battle scenes, partly inspired by Trajan’s column (the cardinal, along with his uncle, participated in military campaigns against Bologna and against the French).

    Sicilian years

    Then he went to Sicily. Genoese merchants commissioned him the oratorio of the Church of San Domenico in Messina — the Virgin and Child Jesus, Saint John the Baptist and Saint George (now in the San Francisco Art Museum). His Adoration of the Magi at the Capodimonte Museum in Naples (1515-1517) would have a great influence on artists from southern Italy. He also painted the altar of the monastery of San Domenico in Catania, from which, after the earthquake of 169For 3 years, only a fragment of the face of the Virgin Mary remained.

    back to milan

    He painted Salome, of which two versions are known to us, one in the Kunsthistorisches Museum in Vienna and the other in the National Gallery in London, and in collaboration with Bernazzano, The Baptism of Christ (Gallarati-Scotti collection, Milan). Between 1515 and 1520 he painted two versions of Madonna with bas-relief ( Madonna del Bassorilievo ), one at the Hermitage in St. Petersburg, the other at Elton Hall, England.

    His latest work and one of his masterpieces is the San Rocco polyptych commissioned by the Brotherhood of the same name. Of the fourteen sections, only six (St. John the Baptist, patron saint of the plague, St. John the Evangelist, St. Christopher, St. Sebastian, St. Roch and the Virgin and Child) have survived and are present in the Castello collections. Sforzesco in Milan.

    Cesare da Sesto died . Undoubtedly, his assistants completed the polyptych.

    The Pierpont Morgan Library has an album and notes by Cesare da Sesto.

    Works

    • Salome and the head of John the Baptist , poplar panel, 136 × 80 cm , Kunsthistorisches Museum, Vienna
    • Christ Carrying His Cross , circa 1520, Grenoble Museum

    Notes and links

    1. ↑ Françoise Wyatt, Leonardo da Vinci, Drawings and Manuscripts , RMN, 2003. Wolfgang Prohaska, Kunsthistorisches Museum Vienna: Painting , CH Beck / Scala Books, , 128 p. (ISBN 3-406-47459-4, read online) , page 33
    • Authority Records :

      • Virtual International Authority File
      • International Standard Name Identifier
      • National Library of France (data)
      • University Documentation System
      • Library of Congress
      • Gemeinsame Normdatei
      • National Library Service
      • Royal Library of the Netherlands
      • Vatican Apostolic Library
      • World Cat Id
      • WorldCat
    • Fine Art Resources:
      • AGORGA
      • Bridgeman Art Library
      • J. Paul Getty Museum
      • Royal Academy of Arts
      • (en) Art UK
      • (in) Benezi
      • «> (en + de) Bavaria Painting Collection
      • (in) Grove Art Online
      • (sv + en) National Museum
      • (en + nl) RKDartists
      • (in) Allied artist name list

    Leonardo da Vinci (1452-1519)

    (♦: attributed ♣: in collaboration †: lost: AdQ: BA)

    Pictures Baptism of Christ (1472 — 1475) ♣ • Annunciation (Gallery Uffizi, 1472 — 1475) ♣ • Medusa † • Ginevra de Benchi (c. 1476) • •

  • • 1478 — 1480) • Madonna Benois (1478 — 1482) Annunciation (Louvre, c. 1478 — 1485) ♣ ° Paehrom (1480 — 1482) • Building (1481) Virgin in the rocks (Louvre, 1483 — 1486) Lady with Ekhnosty (1488-1490) Madonna Litta (about 1490) Portrait of Music

    )

    La Belle Ferronnière (1490-1496) ♦ • The Mother of God of the rocks (National Gallery — 1508) ♣ Madonna with a spindle (c. 15075 (c. Virgin and Child. Jesus plays with the lamb (1503-1519) Mona Lisa d’ISLVORT (between 1503 and 1506) ♦ • Mona Lisa (1503-1506) Salvator Mundi (after 15) ♦ • LA Skapilyata (1508) ♦ • Leda and Swan (1508) † • St. John the Baptist in Baceca (1510-1515) of the Steas Baptist (between 1513 and 1516)

  • Murals Last Supper Battle of Anghiari † • Sala delle Asse ♣
    Sculptures Sforza Monument (never realized) Horse and rider ♦ • Raise horse with warrior
    Drawings
    Science Drawings
    • Vitruvian Man
    • Landscape of the Arno Valley
    • Cat movement study
    • Fetal examination in the womb
    Portraits
    • Condottiere
    • Martyrdom of Saint Sebastian
    • Beautiful princess
    • Self portrait
    Preparatory classes
    • Study for the Madonna and the Cat
    • Head of a young woman (Turin)
    • Head of a young woman (Louvre)
    • Studies for the Child Jesus (Galleries of the Venice Academy)
    • Study for the Head of Saint Anne (Windsor Castle)
    • Head of the Virgin three-quarters to the right (Metropolitan Museum of Art)
    • Study for the right hand of the Virgin (Windsor Castle)
    • Study for the drapery of the Virgin (Louvre)
    Cardboard boxes
    • Child’s head three quarters to the right (c. 1483)
    • Isabelle d’Este (1499-1500)
    • Saint Anna, Mother of God, baby Jesus and Saint John the Baptist in infancy (1499-1500?)
    • St. Anne, Mother of God and Child Jesus (cardboard) (1501)
    Manuscripts CODEX Atlanticus Code of flights of birds Code of Lester Code of Arundela Madrid Code • • • •0939 • Treatise on painting
    Projects Vehicle • Tank • Ornithopter • Propeller • Giant Crossbow • Alto Organist • Robot • Architonnaire • Divine Proportions
    Seats Birthplace (Vinci) • Museo Leonardo da Vinci (Vinci) • Clos Luce Castle (Amboise) • Museum of Science and Technology (Milan) • Museum of Galilee (Florence)
    Leonardeschi Giovanni Antonio Boltraffio • Giampietrino • Hernando de los Llanos • Giovanni Agostino da Lodi • Bernardino Luini • Cesare Magni • Marco d’Oggiono • Francesco Melzi • Giovanni Ambrogio de Predis • Salai • Cesare da Sesto • Andrea Solari
    Specialists Daniel Arasse • ​​Carmen Bambach • Marcel Brion • Pascal Brioist • Alessandro Cecchi • Vincent Deleven • Martin Kemp • Pietro C.

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