Synonyms for conisbee or Related words with conisbee

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Examples of "conisbee"
Conisbee first married Susan Baer, with whom he had two children. Following divorce he married Faya Causey, who survived him.
Philip Conisbee (January 3, 1946 – January 16, 2008) was a British-American curator for the American National Gallery of Art.
J. Manwaring Baines, J. R. Conisbee, and N. Bygate, "The History of Hastings Grammar School 1619-1966", published by the Governors of the Hastings Grammar School Foundation, 1956, revised 1967.
Philip was born in Belfast, the son of Paul Conisbee, but raised in London, being educated at St Dunstan's College in Catford before earning a BA in European Art at the Courtauld Institute in 1968.
He befriended Earl Powell III and moved to California to work with him at the Los Angeles County Museum of Art in 1988. Powell moved to Washington in 1992 and asked Conisbee to join him the following year.
When two monographs on Berthélemy were published in 1979, Philip Conisbee, reviewing them in "The Burlington Magazine", observed drily, "Two monographs on Berthélemy is overkill for a painter who could have been dispatched with a single substantial article. The French academic system of art education in the eighteenth century, backed up by the stimulus of church and state patronage, was so efficient and rigorous that even an average talent could be sufficiently conditioned to produce a handful of decent history-paintings, which are sometimes minor masterpieces."
French art historian Françoise Cachin notes that Gauguin designed both "Self-Portrait with Halo and Snake" and its companion piece "Portrait of Jacob Meyer de Haan" as a caricature. In his "Self-Portrat", Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground. Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation. In the bottom portion, he holds the snake, completing the duality.
In an extended article, Owen Jander discusses the symbolism embedded within Beethoven's fifth symphony and the portrait, hypothesizing that both works were a "ritualized confrontation" – a public yet veiled declaration of the composer's growing deafness, as a means of learning to accept it. Jander proposes that much of 18th to 19th century portrait painting can be considered self-portraits, commissioned at significant times in a person's life in which the details of the portrait were laid out by the subject. Elements such as the subject's pose, facial expression, clothing, accompanying objects and gestures are all part of the conventions of portraiture. Similarly, if any of these elements is depicted in such a way that diverges from typical depictions, that strengthens the message they intend to communicate by drawing in the viewer's attention. Contrasting gestures between right and left arm are typical and serve to sensitize the viewer to summon interpretation, or in the words of critic Philip Conisbee, a "narrative portrait with a didactic purpose."
A few important commissions came to him. Notably, the French governor of Rome asked him to paint "Virgil reading the Aeneid" (1812) for his residence, and to paint two colossal works—"Romulus' Victory Over Acron" (1812) and "The Dream of Ossian" (1813)—for Monte Cavallo, a former Papal residence undergoing renovation to become Napoleon's Roman palace. These paintings epitomized, both in subject and scale, the type of painting with which Ingres was determined to make his reputation, but, as Philip Conisbee has written, "for all the high ideals that had been drummed into Ingres at the academies in Toulouse, Paris, and Rome, such commissions were exceptions to the rule, for in reality there was little demand for history paintings in the grand manner, even in the city of Raphael and Michelangelo." Art collectors preferred "light-hearted mythologies, recognizable scenes of everyday life, landscapes, still lifes, or likenesses of men and women of their own class. This preference persisted throughout the nineteenth century, as academically oriented artists waited and hoped for the patronage of state or church to satisfy their more elevated ambitions."