Each month the Kimbell Art Museum Library adds new books to our collection. Click on each book title to go to its catalog entry to learn more and check availability. Books may be used on-site or requested via Interlibrary Loan. Contact us to schedule a research appointment!
Making Medieval Manuscripts by
Many beautiful illuminated manuscripts survive from the Middle Ages and can be seen in libraries and museums throughout Europe. But who were the skilled craftsmen who made these exquisite books? What precisely is parchment? How were medieval manuscripts designed and executed? What were the inks and pigments, and how were they applied? This book looks at the work of scribes, illuminators and book binders.Based principally on examples in the Bodleian Library, this lavishly illustrated account tells the story of manuscript production from the early Middle Ages through to the high Renaissance. Each stage of production is described in detail, from the preparation of the parchment, pens, paints and inks to the writing of the scripts and the final decoration and illumination of the manuscript. This book also explains the role of the stationer or bookshop, often to be found near cathedral and market squares, in the commissioning of manuscripts, and it cites examples of specific scribes and illuminators who can be identified through their work as professional lay artisans.Christopher de Hamel's engaging text is accompanied by a glossary of key technical terms relating to manuscripts and illumination, providing an invaluable introduction for anyone interested in studying medieval manuscripts today.
The female perspective : women art patrons of the Museo del Prado (1451-1633) by 
Return journey : art of the Americas in Spain by 
Johannes Vermeer: Faith, Light and Reflection by
An innovative reading of the influence of Catholicism on the great Dutch master of light and intimacy Little is known about the personality of Johannes Vermeer (1632-75), one of the most famous Dutch painters of the 17th century. We do know, however, that he married a Catholic woman named Catharina Bolnes, whose family was closely associated with the Jesuit community in Delft. In this book, Gregor J.M. Weber shows that Vermeer himself actually pursued a Catholic way of life. The relationship between the artistic ambitions of the young Vermeer and his Catholic surroundings is also discussed. Vermeer's unique treatment of light, perception and perspective is examined and linked to the Jesuits' special interest in the camera obscura, the instrument of light and vision par excellence. With his research, Weber places Vermeer's person and art in a new context, which until now has only been touched on in passing. Gregor J.M. Weber (born 1956) is head of the Department of Fine Arts at the Rijksmuseum in Amsterdam, Netherlands, and the author of 1600-1700: Dutch Golden Age, among other books.
El taller de restauración de pintura del Museo del Prado : tradición e innovación by 
Raphaël à Bayonne : le maître, ses élèves, ses copistes dans les collections du musée Bonnat-Helleu by 
Bonhams magazine : Summer 2005 ; issue no3
Raphael by
A tribute to the master of Urbino on the occasion of the 500th anniversary of his death.The most important exhibition devoted to the painter in 2020. Published in collaboration with the greatest museums in the world, this monograph proposes an original journey backwards, "à rebour", in the universe of Raphael, where his relationship with the ancient and with Rome guides the reader in an unprecedented journey from the artist's death in 1520 to his formative years between Urbino, Città di Castello, Perugia and Siena. The monograph - published on the occasion of the major exhibition in Rome - has a scientific committee of excellence, composed by Matteo Lafranconi, Marzia Faietti, Sylvia Ferino, Alan Brown, Dominique Cordellier, Guido Cornini, Francesco Paolo Di Teodoro, Vincenzo Farinella, Achim Gnann, Barbara Jatta, Alessandro Nova, Nicholas Penny, Mario Scalini, Alessandro Viscogliosi; each member of the committee is the curator of one section of the catalogue which is introduced by his essay and accompanied by the entries of the works. For centuries Raphael (1483-1520) has been recognised as the supreme High Renaissance painter; though he died at 37, Raphael's example as a paragon of classicism dominated the academic tradition of European painting until the mid-19th century. Raphael was born in Urbino where his father, Giovanni Santi, was court painter. He almost certainly began his training there and must have known works by Mantegna, Paolo Uccello and Piero della Francesca from an early age. His earliest paintings were also greatly influenced by Perugino. From 1500 (when he became an independent master) to 1508 he worked throughout central Italy, particularly Florence, where he became a noted portraitist and painter of Madonnas.In 1508, at the age of 25, he was called to the court of Pope Julius II to help with the redecoration of the papal apartments. In Rome he evolved as a portraitist, and became one of the greatest of all history painters. He remained in Rome for the rest of his life and in 1514, on the death of Bramante, he was appointed architect in charge of St Peter's.
Léon Bonnat : au-delà des portraits : catalogue raisonné. Volume 2, Peinture religieuse et décorative, scènes de genre italiennes et orientalistes, travaux d'apprentissage by Bonhams magazine. Winter 2015. issue 45 : motoring edition
Dutch Art in a Global Age by
Exploring the impact and influence of global trade networks on 17th-century Dutch life and art The 17th century has long been considered a "golden age" for Dutch art, fueled by the Dutch Republic's growth as an economic world power. Nourished by an innovative stock market and burgeoning global trade network, this vibrant economy not only provided artists with a rich context in which to make their art, but also directly influenced the art itself--in its subject matter, materials, meaning and interpretation. The genre scenes and still lifes that today seem quintessentially Dutch actually project a global vision, and often address the positive and negative aspects of economic and global expansion. Drawing on the world-renowned collection of Dutch paintings, works on paper, decorative arts and illustrated books at the Museum of Fine Arts, Boston, this book offers a fresh look at 17th-century Dutch art, accompanied by authoritative essays that ask readers to consider the global context in which this work was made. Artists include: Rembrandt van Rijn, Jacob van Ruisdael, Rachel Ruysch, Frans Hals, Judith Leyster, Gerrit van Honthorst, Maria Schalcken, Pieter Claesz, Nicolaes Maes, Jan van Huysum and Johannes Vermeer.
A Vision of Cats and Dogs: Bonnard and Animality by
Animals were a primary source of inspiration and creative stimulation for the Nabi painter Pierre Bonnard (1867-1947): the theme can be found in about a third of the 2,300 paintings created by the artist over the course of his lengthy career. Ubu, Ravageau, Black and Almond were the names of a few of the canine companions that appear in his work; his cats, though never thus identified by name, also frequently populate his canvases. The appearance of other animals, such as horses, fish, chickens and cows, further testify to Bonnard's fundamental affection for the creature world; but their presence in his paintings has never before been directly addressed. This fully illustrated book examines this secret theme running throughout Bonnard's oeuvre, and will prove a delightful revelation for fans of the intimiste master.
Courtly Mediators by
In Courtly Mediators, Leah R. Clark investigates the exchange of a range of materials and objects, including metalware, ceramic drug jars, Chinese porcelain, and aromatics, across the early modern Italian, Mamluk, and Ottoman courts. She provides a new narrative that places Aragonese Naples at the center of an international courtly culture, where cosmopolitanism and the transcultural flourished, and in which artists, ambassadors, and luxury goods actively participated. By articulating how and why transcultural objects were exchanged, displayed, copied, and framed, she provides a new methodological framework that transforms our understanding of the Italian Renaissance court. Clark's volume provides a multi-sensorial, innovative reading of Italian Renaissance art. It demonstrates that the early modern culture of collecting was more than a humanistic enterprise associated with the European roots of the Renaissance. Rather, it was sustained by interactions with global material cultures from the Islamic world and beyond.
Maddalena, il mistero e l'immagine by 
La Sacra famiglia della Cascata di Ridolfo del Ghirlandaio by 
Raffaello a Capodimonte : l'officina dell'artista by 
Paris Bordon : 1500-1571 : pittore divino by 
Fashioned by Sargent by
A lavish exploration of Sargent's relationship to fashion, featuring exquisite costumes from the Gilded Age "The coat is the picture," John Singer Sargent explained to his fellow artist Graham Robertson in the summer of 1894, tugging a heavy garment ever more tightly around his sitter's slender figure. More attentive to what he hoped to accomplish as a painter than he was to the dictates of contemporary fashion, Sargent often chose what his sitters would wear. Even when they came to him dressed in the latest mode, he frequently ignored or simplified the details, concentrating on texture, drape and the way fabrics responded to light. Exploiting dress as an integral ingredient of his own artistry, Sargent used clothes to proclaim his own aesthetic agenda while simultaneously establishing his sitters' social position, profession, gender identity and nationality. Fashioned by Sargent explores the complicated relationship of painting and dress through lavish reproductions of Sargent's works alongside exquisite costumes of the period--including garments actually worn by his sitters. Essays by leading scholars illuminate topics such as portraits and performance, gender expression and the New Woman, and the pull of history and the excitement of new ideas, offering readers new insights into masterworks by a beloved American artist. The international art star of the Gilded Age, John Singer Sargent (1856-1925) was born in Italy to American parents, trained in Paris and worked on both sides of the Atlantic. Sargent is best known for his dramatic and stylish portraits, but he was equally active as a landscapist, muralist and watercolor painter.
Paolo V Borghese : (1605-1621) : arte e politica a Roma, in Europa e nel mondo by 
Reckoning with Millet's Man with a Hoe, 1863-1900 by
A revelatory exploration of one of Jean-François Millet's most contentious paintings. A monumentalizing portrayal of a peasant bowed over by brutal toil, Man with a Hoe (1860-62) by Jean-François Millet (1814-1875) is arguably the most art historically significant painting in the J. Paul Getty Museum's collection of nineteenth-century European art. This volume situates the work in the arc of Millet's career and traces its fascinating and contentious reception, from its scandalous debut at the 1863 Paris Salon to the years following its acquisition by American collectors in the 1890s. The essays examine the painting's tumultuous public life, beginning in France, where critics attacked it on aesthetic and political grounds as a radical realist provocation; through its transformative movement in the art market during the remaining years of the artist's life and following his death; to its highly publicized arrival in California as a celebrated masterpiece. In the United States it was enlisted to serve philanthropic interests, became the subject of a popular poem, and once again became embroiled in controversy, in this case one that was strongly inflected by American racial politics. This is the first publication dedicated to the work since its acquisition by the Getty Museum in 1985. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 12 to December 10, 2023.
Wei Yang's guide to Chinese painting and calligraphy by 
Rosalba Carriera by
2023 marks the 350th anniversary of the birth of Rosalba Carriera, the most famous pastel painter of the 18th century. Dresden surpasses even Venice, the artist's hometown, as the place where visitors can best admire her work. For it was here, in the Gemaldegalerie that opened in 1746, that a total of 157 of her pastels went on display in what was known as the "Cabinet of Rosalba." This book traces the history of this unique collection and presents the 73 pastels remaining in Dresden today - still the world's largest collection of her art. Carriera's artistic career began with lace-making, for which Venice was famous. However, she soon turned to miniature painting and, finally, to painting with pastels. She created allegories, portrayed friends and artists, but also the European nobility of her time. In doing so, she created a visual vernacular that gave expression to the social type of the lively and self-confident woman - a type she no less embodied. By devoting herself to art and pursuing an enviable career as an independent artist, she serves as an early role model for feminist artists.
The matter of mimesis : studies of mimesis and materials in nature, art and science by 
The land between two seas : art on the move in the Mediterranean and the Black Sea 1300-1700 by 
Meanings and functions of the ruler's image in the Mediterranean world (11th-15th centuries) by 
Reliefs en stuc de la Renaissance italienne by 
Animali maravigliosi : orientalismo e animali esotici a Firenze in epoca tardogotica e rinascimentale: conoscenza, immaginario, simbologia by 
Motion, transformation : 35th Congress of the International Committee of the History of Arts : Florence, 1-6 September 2019 : Congress proceedings by 
Genova barocca : opere, artisti, territorio by 
Wilhelm Bode and the Art Market by
The professional career and success of Wilhelm Bode (1845-1929) relied on the business of connoisseurship. Like other contemporary art historians involved in the commerce of art, he was entangled in the reciprocal dynamics and interdependencies of the nascent discipline of art history, connoisseurship and the art trade. The volume introduces new material and a fresh perspective on Bode's strategic participation in the Western art market, exposing the particular consequences of these entanglements on the birth of the art historical canon and showcasing his complex agency within the art marketplace of the late nineteenth and the early twentieth centuries.
Enigma Laocoonte : Michelangelo, Giulio II e la storia di una contraffazione by 
Umberto Boccioni : vita di un sovversivo by 
Emulación cortesana y devoción en la promoción artística de María de Lazcano (1593-1664) en Guipúzcoa by 
Cecco del Caravaggio : l'allievo modello by 
Ein Gebet der Tat by
From a modern perspective, the secular and religious spheres separated at the close of the late mediaeval period. This study is the first to make clear, however, that a fundamentally religious atmosphere exerted a decisive influence on the beginnings of genre art in the second half of the 15th century. A new form of piety united everyday life and faith and spiritualised reality. In this sense, early genre paintings could convey Christian doctrinal content and episodes from the story of salvation using typified pictorial figures. This is the case, for example, in Martin Schongauer's Peasant "Family Going to Market" as an updated flight into Egypt, the Wolfegg house book as a practical devotional work, or Peter Christ's "A Goldsmith in his Shop" as a vocational scene, as this monograph demonstrates on the basis of in-depth pictorial analyzes. New perspectives on key, early works of genre painting The first genre paintings in the context of innermost piety Including late mediaeval sermon practice and the doctrine of remembrance
Picasso in Fontainebleau by
This publication and the accompanying exhibition are the first to reunite major works from Picasso's studio in Fontainebleau, France, in over 100 years. Between July and September of 1921, in a rented villa in the town of Fontainebleau, France, Pablo Picasso created an astonishingly varied body of work. Published to accompany an exhibition at The Museum of Modern Art, New York, that reunites these works for the first time since they left the artist's studio, Picasso in Fontainebleau presents both monumental versions of Three Musicians and Three Women at the Spring alongside other major works on canvas, small preparatory paintings, line drawings, etchings, and pastels he created in Fontainebleau. Encompassing both Cubist and classic academic styles, these works are complemented by never-before-seen photographs and archival documents. An introductory essay by curator Anne Umland examines the critical issues that distinguish Picasso's Fontainebleau oeuvre, and is followed by 15 short essays co-authored by curators and conservators that offer art historical analysis of groups of closely related works and object-based insights into materials, structures, and processes. By investigating Picasso's decision to paint simultaneously in seemingly opposite styles, Picasso in Fontainebleau emphasizes the interconnectedness of his process and practice, and his ability to disrupt expectations of artistic evolution and stylistic consistency.
Elisabetta Sirani : maestra of baroque Bologna by Rosalba Carriera by
2023 marks the 350th anniversary of the birth of Rosalba Carriera, the most famous pastel painter of the 18th century. Dresden surpasses even Venice, the artist's hometown, as the place where visitors can best admire her work. For it was here, in the Gemaldegalerie that opened in 1746, that a total of 157 of her pastels went on display in what was known as the "Cabinet of Rosalba." This book traces the history of this unique collection and presents the 73 pastels remaining in Dresden today - still the world's largest collection of her art. Carriera's artistic career began with lace-making, for which Venice was famous. However, she soon turned to miniature painting and, finally, to painting with pastels. She created allegories, portrayed friends and artists, but also the European nobility of her time. In doing so, she created a visual vernacular that gave expression to the social type of the lively and self-confident woman - a type she no less embodied. By devoting herself to art and pursuing an enviable career as an independent artist, she serves as an early role model for feminist artists.
Strong Women in Renaissance Italy by
The lives, works and imagery of women artists, patrons and icons in Renaissance Italy The story of the Renaissance in Italy is often told through the work of great male artists such as Michelangelo, Raphael, Donatello and Leonardo. But what about the female half of the population? By exploring works made by, for, or about women, this book aims to reconsider a period of creative ingenuity and artistic excellence from their often-overlooked perspective. Drawing on the rich collection of paintings, ceramics, textiles, illustrated books and prints at the Museum of Fine Arts, Boston, this publication focuses on images of feminine power, both sacred and secular, telling the stories of saints such as Mary Magdalen as examples of strength and ascetic devotion, Biblical heroines such as Judith as civic and domestic role models, and the mythical sorceress Medea as the ideal of a heroic nude. Women also asserted their presence as artists, artisans and patrons: Sofonisba Anguissola, Lavinia Fontana, Artemisia Gentileschi, Vittoria Colonna, Isabella d'Este and Eleonora Gonzaga are just some of the strong women who shaped the life and art of the Italian Renaissance.
Face à face : l'autoportrait de Cézanne à Bonnard = Self-portrait : Cézanne to Bonnard by 
Idealizing women in the Italian Renaissance by 
Fools & Folly by
In praise of folly: on the fool and the jester in Flemish art, an important motif in medieval art, especially in the Low Countries.
Decolonize Museums by
Behold thesleazy logic of museums: plunder dressed up as charity, conservation, and care. The idealizedWestern museum, as typified by the Metropolitan Museum of Art, the BritishMuseum, and the Museum of Natural History, has remained much the same for overa century: a uniquely rarified public space of cool stone, providing anexperience of leisure and education for the general public while carefullytending fragile artifacts from distant lands. As questions about representationand ethics have increasingly arisen, these institutions have proclaimed theirinterest in diversity and responsible conservation, asserting both theiradaptability and their immovably essential role in a flourishing and culturallyrich society. With DecolonizeMuseums, Shimrit Lee punctures this fantasy, tracing the essentiallycolonial origins of the concept of the museum. White Europeans' atrocities werereimagined through narratives of benign curiosity and abundant respect for theoccupied or annihilated culture, and these racist narratives, Lee argues,remain integral to the authority exercised by museums today. Citing pop culturereferences from Indiana Jones to Black Panther,and highlighting crucial activist campaigns and legal action to redress theharms perpetrated by museums and their proxies, Decolonize Museums arguesthat we must face a dismantling of these seemingly eternal edifices, andconsider what, if anything, might take their place.
Bronzino's Lodovico Capponi by
New volume in the Frick Diptych series focuses on an enigmatic Renaissance portrait, pairing an essay by Frick curator Aimee Ng with a contribution by bestselling author Daniel Mendelsohn. Painted about 1550-50 by Agnolo Bronzino (Italian, 1503-1572), this remarkable portrait depicts the young Florentine aristocrat Lodovico Capponi (b. 1534), an associate of the Medici court. Capponi wears black and white, his family's armorial colors. His right index finger partially conceals the medal he holds, revealing the legend SORTE (fate or fortune)--evoking the young man's future. In the mid-1550s, Lodovico fell in love with Maddalena Vettori, whom Duke Cosimo de Medici had intended as a wife for one of his cousins. After years of opposition, the duke relented, and Lodovico and Maddalena were married with lavish celebrations.
The Intimate Rembrandt by
Christopher White explains why he chose this title for his new book: 'The often intimate, reflective and personal side to Rembrandt's work in treating subjects from history or the Bible reveals an increasingly more introspective interpretation than his contemporaries.' Rembrandt's sharp eye draws inspiration from the domestic scene, the local street and wherever he went. His subjects include: children, beggars, musicians, dogs, pigs, horses; even elephants and lions. White studies Rembrandt's technique from an aesthetic rather than a scientific point of view; his willingness to experiment whether drawing, painting or etching is a notable feature of his work, and by discussing examples of the three different media side by side, the author demonstrates their interdependence.
Narrative Painting in Nineteenth-Century Europe by
This ground-breaking book presents a critical study of pictorial narrative in nineteenth-century European painting. Covering works from France, Germany, Britain, Italy and elsewhere, it traces the ways in which immensely popular artists like Jean-Léon Gérôme, Karl von Piloty and William Quiller Orchardson used unique visual strategies to tell thrilling and engaging stories. Regardless of genre, content or national context, these paintings share a fundamental modern narrative mode. Unlike traditional art, they do not rely on textual sources; nor do they tell stories through the human body alone. Instead, they experiment with objects, spaces, cause-and-effect relations and open-ended ambiguity, prompting viewers and reviewers to read for clues in order to weave their own elaborate tales.
The Flemish Masters from Van Eyck to Bruegel by
Occasionally, when something seems very familiar you lose sight of what makes it so special: Flemish Masters. From van Eyck to Bruegel sets out to counteract this effect and opens our eyes once again to the revolution that took place in the Low Countries in the 15th and 16th centuries that shaped the course of European art. In 48 lavishly illustrated analyses, Matthias Depoorter explores how painters such as Van Eyck, Van der Weiden, Massys, Bosch, and Bruegel reached unprecedented heights, and are rightfully considered innovators to this day. The defining factor was their perfecting and mastery of the oil painting technique as well as their ground-breaking attention to optical lighting effects. The new technical possibilities offered a different way of looking at the world and ultimately a new way of painting. No less innovative was the level of detail. These painters were thoroughly acquainted with each other's work-this volume shows the fundamental artistic cross-fertilization. A must-read for anyone who wants to fall in love with the old masterpieces anew.
Antonio Canova in the Veneto : a guide by 
Praying to Portraits by
In Praying to Portraits, art historian Adam Jasienski examines the history, meaning, and cultural significance of a crucial image type in the early modern Hispanic world: the sacred portrait. Across early modern Spain and Latin America, people prayed to portraits. They prayed to "true" effigies of saints, to simple portraits that were repainted as devotional objects, and even to images of living sitters depicted as holy figures. Jasienski places these difficult-to-classify image types within their historical context. He shows that rather than being harbingers of secular modernity and autonomous selfhood, portraits were privileged sites for mediating an individual's relationship to the divine. Using Inquisition records, hagiographies, art-theoretical treatises, poems, and plays, Jasienski convincingly demonstrates that portraiture was at the very center of broader debates about the status of images in Spain and its colonies. Highly original and persuasive, Praying to Portraits profoundly revises our understanding of early modern portraiture. It will intrigue art historians across geographical boundaries, and it will also find an audience among scholars of architecture, history, and religion in the early modern Hispanic world.
Painting in Renaissance Perugia by
This volume offers the first comprehensive study of painting in Renaissance Perugia from the late fifteenth to the mid- sixteenth centuries. Showcasing works by Perugino, Raphael, and Pintoricchio, as well as less familiar artists who worked in Perugia from ca. 1480-1540, Sheri Shaneyfelt traces the influence and impact of Perugino's workshop in central Italy over more than a half a century. She demonstrates why Perugia, which has been overlooked in modern scholarship, was such a vital center for the production of early modern Italian art. Shaneyfelt's study also shifts the focus away from the analysis of individual artistic creativity by highlighting the importance and significance of collaboration and workshop production in Renaissance Italy. Interweaving historical and archival evidence with analyses of numerous paintings and drawings, her book, richly illustrated with 115 color illustrations, offers many new insights into the vibrant artistic culture of early modern Perugia.
Connecting Worlds by
This book explores the concept of travel as inspiration for artists across history. Comprising over one hundred such works, Connecting Worlds: Artists & Travel is the first exhibition dedicated to artists' experiences of travel from the Renaissance to the nineteenth century. A collaboration between the Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, and the Katrin Bellinger Collection, London, the exhibition includes works by major artists, lesser-known professionals, as well as amateurs, mostly from Northern Europe. Divided into three sections, the exhibition begins by exploring the work of artists on the road and what they regarded as important to record in their sketchbooks. The second section looks at Rome as one of the most important destinations for Northern travelers, and the journey ends in Dresden, a center of cultural exchange and glamorous festivities. This richly illustrated catalog features essays by an international panel of experts addressing such topics as the uses of artist sketchbooks across time, written and visual accounts of travel in books and prints, and encounters with the Ottoman world.
French Silver in the J. Paul Getty Museum by
Vividly illustrated, this is the first comprehensive catalogue of the J. Paul Getty Museum's celebrated collection of seventeenth- and eighteenth-century French silver. The collection of seventeenth- and eighteenth-century French silver at the J. Paul Getty Museum is of exceptional quality and state of preservation. Each piece is remarkable for its beauty, inventive form, skillful execution, illustrious provenance, and the renown of its maker. This volume is the first complete study of these exquisite objects, with more than 250 color photographs bringing into focus extraordinary details such as minuscule makers' marks, inscriptions, and heraldic armorials. The publication details the formation of the Museum's collection of French silver, several pieces of which were selected by J. Paul Getty himself, and discusses the regulations of the historic Parisian guild of gold- and silversmiths that set quality controls and consumer protections. Comprehensive entries catalogue a total of thirty-three pieces with descriptions, provenance, exhibition history, and technical information. The related commentaries shed light on the function of these objects and the roles they played in the daily lives of their prosperous owners. The book also includes maker biographies and a full bibliography. The free online edition of this open-access publication is available at getty.edu/publications/french-silver/ and includes 360-degree views and zoomable high-resolution photography. Also available are free PDF and EPUB downloads of the book, and JPG downloads of the main catalogue images.
Dare to Know by
A New York Times best art book of 2022 An A to Z exploration of the Enlightenment's quest for understanding and change, as revealed in the era's prints and drawings Are volcanoes punishment from God? What do a fly and a mulberry have in common? What utopias await in unexplored corners of the earth and beyond? During the Enlightenment, questions like these were brought to life through an astonishing array of prints and drawings, helping shape public opinion and stir political change. Dare to Know overturns common assumptions about the age, using the era's proliferation of works on paper to tell a more nuanced story. Echoing the structure and sweep of Diderot's Encyclopédie, the book contains 26 thematic essays, organized A to Z, providing an unprecedented perspective on more than 50 artists, including Henry Fuseli, Jean-Honoré Fragonard, Francisco Goya, Jean-Baptiste Greuze, William Hogarth, Giovanni Battista Piranesi, and Giambattista Tiepolo. With a multidisciplinary approach, the book probes developments in the natural sciences, technology, economics, and more--all through the lens of the graphic arts. Distributed for the Harvard Art Museums Exhibition Schedule: Harvard Art Museums, Cambridge, MA (September 16, 2022-January 15, 2023)
Giuliano Da Sangallo and the Ruins of Rome by
An illuminating reassessment of the architect whose innovative drawings of ruins shaped the enduring image of ancient Rome Giuliano da Sangallo (1443-1516) was one of the first architects to draw the ruins and artifacts of ancient Rome in a systematic way. Cammy Brothers shows how Giuliano played a crucial role in the Renaissance recovery of antiquity, and how his work transformed the broken fragments of Rome's past into the image of a city made whole. Drawing new insights from the Codex Barberini and the Taccuino Senese--two exquisite collections of Giuliano's drawings on parchment--Brothers reveals how the Florentine architect devoted enormous energy to the representation of ruins, and how his studies of Rome formed an integral part of his work as a designer. She argues that Giuliano's inventive approach, which has often been mischaracterized as fantastical or naive, infused the architect's craft with the sensibilities of a poet and painter. Brothers demonstrates how his drawings form the basis for a reevaluation of the meaning and method of the Renaissance study of ancient artifacts, and brings to life the transformative moment when artists and architects began to view the fragments of ancient Rome not as broken artifacts of little interest but as objects of aesthetic contemplation. Featuring a wealth of Giuliano's magnificent drawings, this compelling book provides an incomparable lens through which to explore essential questions about the aesthetic value, significance, and the uses of the past for today's architects.
Albrecht dürer's Material World by
The painter and printmaker Albrecht Dürer is one of the most important figures of the German Renaissance. This book accompanies the first major exhibition of the Whitworth art gallery's outstanding Dürer collection in over half a century. It offers a new perspective on Dürer as an intense observer of the worlds of manufacture, design and trade that fill his graphic art. Artworks and artefacts examined here expose understudied aspects of Dürer's art and practice, including his attentive examination of objects of daily domestic use, his involvement in economies of local manufacture and exchange, the microarchitectures of local craft and, finally, his attention to cultures of natural and philosophical inquiry and learning.
The Radical Vision of Edward Burne-Jones by
A bold reassessment of nineteenth-century British painter and decorative artist Edward Burne-Jones, elucidating his fundamentally radical defiance of the Victorian age Challenging the dominant characterization of Edward Burne-Jones as an escapist who withdrew from the modern world into imaginary realms of his own creation, this groundbreaking book argues that he was engaged in a fundamentally radical defiance of the age, protesting against imperial aggression, capitalist economic inequality, and environmental destruction in the wake of the industrial revolution. Harnessing the utopian power of embodied aesthetic encounters, Burne-Jones drew inspiration from the medieval concept of dreams as visionary states of transformation. Therefore, his art functioned not as a retreat, but as a vehicle for revolutionary awakening. Often characterized as a painter, this book re-centers Burne-Jones's practice in the decorative arts, demonstrating that he consistently interrogated the boundaries of artistic media, in keeping with wider debates over the role of the arts in the nineteenth century. The first scholarly monograph solely devoted to Burne-Jones since 1973, The Radical Vision of Edward Burne-Jones offers a thorough re-examination of his work, illuminating his radical defiance of the artistic, social, and political hierarchies of nineteenth-century Britain. Distributed for the Paul Mellon Centre for Studies in British Art
Edvard Munch : trembling Earth by 
Early Painting in the Northern Netherlands by
This volume, published in association with the Rijksmuseum (Amsterdam), contains the results of research by scientists, conservators and art historians into the materials and techniques of early paintings from the Northern Netherlands in the museum's collection. In order to investigate the materials used by the artists, including the provenance of the materials and the methods of preparation and application, 14 paintings and frames were examined. Information on the panels, grounds, underdrawings, pigments, oils, diluents etc. are explored in relation to the descriptions in mediaeval texts and treatises. This richly illustrated book gives a clear understanding of the lost skills, forgotten materials, and technical secrets of medieval painting - a world so different from ours - thereby making the materials and methods of the medieval past less foreign to us.
Giotto the Painter. Volume 1: Life by
Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are - on the one hand - biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist.
Giotto the Painter. Volume 2: Works by
The paintings examined and contextualised in this volume are those secured for Giotto through early written sources. These sources also help to reconstruct the sequence of his works and artistic inventions as is plausible in the context of media culture in the decades around and after 1300: while Giotto was spiritually and intellectually formed in the sphere of the Florentine Dominicans, his artistic path began in Rome in the shadow of the Curia. The breakthrough to his own artistic concept came immediately before and during his work in Padua. In addition to prominent churchmen, ecclesiastical institutions, and the King of Naples, his clients were predominantly members of Italy's urban and financial elites. The adoption and further development of his inventions by other - especially Sienese - painters pressured him in his later years to try new approaches again.
Giotto the Painter. Volume 3: Survival by
Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.
Abraham Brueghel : 1631 - 1697 : un maestro della natura morta fra Anversa, Roma e Napoli by 
Women Across Asian Art by
Filled with exquisite color illustrations, this volume examines an underserved aspect of Asian art history by discussing women artists, collectors, archaeologists, and architects whose efforts have largely been left out of scholarship.
Eleonora d'Aragona by
Il volume affronta in modo complessivo la biografia politica di Eleonora d'Aragona duchessa di Ferrara (1450-1493), figura cruciale, eppure sin qui di fatto trascurata, della rete politica dell'Italia del secondo Quattrocento: figlia del re Ferrante d'Aragona e nipote del Magnanimo; madre di Isabella d'Este e della piu giovane Beatrice, sposa di Ludovico il Moro; sorella della regina d'Ungheria, Beatrice. La duchessa, a cavallo fra Napoli e Ferrara, grazie a un'educazione umanistica di impronta regia e a una chiara consapevolezza delle sue responsabilita - in una parola della sua identita politica e dinastica - fu un tramite fondamentale in quei passaggi tipici della cultura politica quattrocentesca: come signora di Ferrara, come consorte, come madre, come figlia, vale a dire in tutti i ruoli che la sua posizione nel network dinastico aragonese ed estense le permetteva di esercitare. Ci troviamo di fronte ad un caso particolarmente significativo di power sharing nell'ambito dei principati italiani del Rinascimento.
Woodland Imagery Northern Art C. 1500 Hb by
Woodland Imagery in Northern Art reconnects us with the woodland scenery that abounds in Western painting, from Albrecht Dürer's intense studies of verdant trees, to the works of many other Northern European artists who captured 'the truth of vegetation' in their work. These incidents of remarkable scenery in the visual arts have received little attention in the history of art, until now. Prosperetti brings together a set of essays which are devoted to the poetics of the woodlands in the work of the great masters, including Claude Lorrain, Jan van Eyck, Jacob van Ruisdael, Peter Paul Rubens, Rembrandt, and Leonardo da Vinci, amongst others. Through an examination of aesthetics and eco-poetics, this book draws attention to the idea of lyrical naturalism as a conceptual bridge that unites the power of poetry with the allurement of the natural world. Engagingly written and beautifully illustrated throughout, Woodland Imagery in Northern Art strives to stimulate the return of the woodlands to the places where they belong--in people's minds and close to home.
Remember Me: Renaissance Portraits by
How Renaissance Old Masters expanded the terms and vocabulary of portraiture In the Renaissance, artists across Europe produced lifelike portraits with new virtuoso realism and exactitude, immortalizing not only kings and noblemen but, increasingly, bankers, merchants and scholars. These paintings, busts, prints and drawings still bear witness to the power, status, ambitions, friendships and religious convictions of their subjects. Whether they are lovers, celebrities or religious devotees, the people portrayed here implore the onlookers not to forget them. This compendium--innovatively designed by Irma Boom--includes more than 100 portraits from collections around the world. Artists include: Hans Holbein II, Albrecht Dürer, Hans Memling, Antonello da Messina, Petrus Christus, Titian, Jan Borman the Younger, Renier van Thienen, Hans Holbein the Younger, Jan Gossart, Sofonisba Anguissola, Albrecht Dürer, Jan Jansz Mostaert, Petrus Christus, Lorenzo Lotto, Maerten van Heemskerck, Piero di Cosimo, Hans Memling and Paolo Veronese.
Lucas Cranach: A-Z by
Lucas Cranach the Elder created around 500 works during his lifetime. With his portraits of Martin Luther and Philipp Melanchton and as court painter to Frederick the Wise, he became one of the most sought-after painters of the Reformation. At the same time, Cranach was the first to translate the Italian Renaissance tradition of the life-size nude into art north of the Alps; his lascivious, barely veiled depiction of Venus, the goddess of love, bears witness to this. On the occasion of the large Cranach exhibition at the Kunsthistorisches Museum in Vienna, the Austrian writer Teresa Präauer explores the work of this busy prince of painters from A to Z. She focuses not only on Cranach's art, but also on the society that surrounded him, the subjects he painted, and the events that shaped his development.
The Inclusive Museum Leader by
The Inclusive Museum Leader offers insights and perspectives from two recognized museum leaders who have joined together to offer practical solutions and opportunities responding to the call for museums to play an active social justice role.
Orazio Gentileschi e l'immagine di san Francesco : la nascita del caravaggismo a Roma by 
Sargent and Spain by
For the first time, explore John Singer Sargent's fascination with Spain as seen in stunning landscapes, architectural views, figure studies, and scenes of everyday life.
American artist John Singer Sargent (1856-1925) experienced Spain, including the picturesque island of Majorca, as a source of rejuvenation and inspiration. Sargent and Spain features scores of the artist's dazzling watercolors, oil paintings, and drawings, from landscapes and seascapes to architectural studies, scenes of everyday life, and sympathetic portraits of the Roma and other local people he encountered. Immersing himself in the country's rich culture, he studied Spanish masters old and new, lavishing particular attention on works by Diego Velázquez in the Prado. He rendered the distinctive architecture of the Alhambra as well as other palaces and churches, and he captured lively scenes of ports and villages. Intrigued by Spanish dance and music, Sargent created dynamic views of flamenco and the famous dancer La Carmencita. A map and an illustrated chronology document the artist's seven trips to and travels through Spain. This handsome book showcases, for the first time, Sargent's captivation with Spain and the remarkable works of art now associated with it. ; Published in association with the National Gallery of Art, Washington ; Exhibition Schedule: National Gallery of Art, Washington (October 2, 2022-January 2, 2023) ; Fine Arts Museums of San Francisco, Legion of Honor (February 11-May 14, 2023)
Das Bacchanale von Lovis Corinth : Landesmuseum Hannover by 
Piranesi : earliest drawings = i primi disegni by 
Rembrandt in a Red Beret by
- A story almost too unlikely to be true - For nearly 100 years in the collection of the king of The Netherlands and in 1921 stolen to turn up in 1945 Rembrandt in a red beret: the vanishings and reappearances of a self-portrait follows the fortunes of a fascinating painting along two lines. First is the history of the painting as a precious collector's object, a story almost too unlikely to be true. In 1823 it was bought by the future King Willem II as one of his first purchases for the greatest collection of paintings ever assembled by a Dutch individual. For nearly a hundred years it remained with his heirs, coming to Weimar. Then, in 1921 it was stolen from the Weimar Museum, to turn up in 1945 in Dayton, Ohio, owned by a man who said he bought it in 1934 from a German sailor on the New York waterfront. What followed is revealed in this book for the first time, based on declassified U.S. government information. In 1947 the U.S. government seized the Rembrandt under such strict terms that 20 years later, when it wanted to return it to Germany, it was forced to go into legislative and diplomatic gymnastics to do so. Upon its return, an heir to the Weimar title sued for its restitution, and after seven years of one trial after another, she got it. She sold it in 1983 to the private collector who still owns it. Since 1921 it has been on public display only for 10 days in Dayton (1947) and 10 weeks in Washington (1967). The book also traces the critical history of the painting as a Rembrandt. In 1969 his authorship was disputed by Horst Gerson, an opinion that was seconded by the Rembrandt Research Project. Examining all the evidence and arguments, the eminent Rembrandt specialist Gary Schwartz comes to the conclusion that there is no reason not to accept the painting for what it looks like - a self-portrait of the great master, painted by his own hand.
Mythical beasts & worldy creatures
Afterlives by
A strikingly original exploration of the profound impact of World War II on how we understand the art that survived it By the end of World War II an estimated one million artworks and 2.5 million books had been seized from their owners by Nazi forces; many were destroyed. The artworks and cultural artifacts that survived have traumatic, layered histories. This book traces the biographies of these objects--including paintings, sculpture, and Judaica--their rescue in the aftermath of the war, and their afterlives in museums and private collections and in our cultural understanding. In examining how this history affects the way we view these works, scholars discuss the moral and aesthetic implications of maintaining the association between the works and their place within the brutality of the Holocaust--or, conversely, the implications of ignoring this history. Afterlives offers a thought-provoking investigation of the unique ability of art and artifacts to bear witness to historical events. With rarely seen archival photographs and with contributions by the contemporary artists Maria Eichhorn, Hadar Gad, Dor Guez, and Lisa Oppenheim, this catalogue illuminates the study of a difficult and still-urgent subject, with many parallels to today's crises of art in war. Published in association with the Jewish Museum, New York Exhibition Schedule: Jewish Museum, New York (Opens August 2021)
Art and Architecture of Sicily by
Sicily' s strategic position in the centre of the Mediterranean led to settlement or conquest by a succession of different peoples - Phoenicians, Greeks, Romans, Byzantines, Muslims, Normans, Germans, French, Spanish - each one leaving its traces on Sicilian culture. This book provides a chronological survey, each section opening with a brief historical overview which is followed with an authoritative and engaging account of the development of the period' s art and architecture. The leading architects, artists and stylistic currents are all discussed and outstanding individual buildings and works of art are analysed in detail, while archaeology, urban development, patronage and decorative arts are also covered. This is not a story of artistic conquests, but as a successive layering of different cultures: the way each one interacted with its predecessors produced art and architecture quite distinct from anywhere else in Europe.
Giacomo Ceruti by
A thoughtful look at representations of people experiencing poverty in early modern Europe. The northern Italian artist Giacomo Ceruti (1698-1767) was born in Milan and active in Brescia and Bergamo. For his distinctive, large-scale paintings of low-income tradespeople and individuals experiencing homelessness, whom he portrayed with dignity and sympathy, Ceruti came to be known as Il Pitocchetto (the little beggar). Accompanying the first US exhibition to focus solely on Ceruti, this publication explores relationships between art, patronage, and economic inequality in early modern Europe, considering why these paintings were commissioned and by whom, where such works were exhibited, and what they signified to contemporary audiences. Essays and a generous plate section contextualize and closely examine Ceruti's pictures of laborers and the unhoused, whom he presented as protagonists with distinct stories rather than as generic types. Topics include depictions of marginalized subjects in the history of early modern European art, the career of the artist and his significance in the history of European painting, and period discourses around poverty and social support. A detailed exhibition checklist, complete with provenance, exhibition history, and bibliography, provides information critical for the further understanding of Ceruti's oeuvre. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from July 18 to October 29, 2023.
Natural Light by
A brand-new perspective on early modern art and its relationship with nature as reflected in this moving account of overlooked artistic genius Adam Elsheimer, by an outstanding writer and critic. Seventeenth-century Europe swirled with conjectures and debates over what was real and what constituted 'nature', currents that would soon gather force to form modern science. Natural Light deliberates on the era's uncertainties, as distilled in the work of painter Adam Elsheimer - a short-lived, tragic German artist who has always been something of a cult secret. Elsheimer's diminutive, intense and mysterious narrative compositions related figures to landscape in new ways, projecting unfamiliar visions of space at a time when Caravaggio was polarizing audiences with his radical altarpieces and circles of 'natural philosophers' - early modern scientists - were starting to turn to the new 'world system' of Galileo. Julian Bell transports us to the spirited Rome of the 1600s, where Elsheimer and other young Northern immigrants - notably his friend Peter Paul Rubens - swapped pictorial and poetic reference points. Focusing on some of Elsheimer's most haunting compositions, Bell drives at the anxieties that underlie them - a puzzling over existential questions that still have relevance today. Traditional themes for imagery are expressed with fresh urgency, most of all in Elsheimer's final painting, a vision of the night sky of unprecedented poetic power that was completed at a time of ferment in astronomy. Circulated through prints, Elsheimer's pictorial inventions affected imaginations as disparate as Rembrandt, Lorrain and Poussin. They even reached artists in Mughal India, whose equally impassioned miniatures expand our sense of what 'nature' might be. As we home in on artworks of microscopic finesse, the whole of the 17th-century globe and its perplexities starts to open out around us.
Baroque Influencers by
- This richly illustrated book accompanies the exhibition of the same name in the St Charles Borromeo Church, the Museum Snijders & Rockox- huis and the Hendrik Conscience Heritage Library in Antwerp from April to July 2023 - The exhibition is part of the Baroque Influencers city festival How did Jesuits use the contemporary visual language of baroque to draw the public into their vision of humanity, religion and society? In this book, several authors attempt to answer this complex question. The setting is Antwerp in the 17th century. At that time, the city served as the headquarters of the Jesuit order in the Netherlands and as a bastion against Calvinism in the Dutch Republic. The arts were flourishing in an unprecedented manner there. Painters such as Rubens and Van Dyck produced works commissioned by the Jesuits and participated in the life of the Catholic community organized by the order, together with large groups of other believers. For example, the book considers in some detail the baroque Church of St Ignatius - today St Charles Borromeo Church - on Hendrik Conscienceplein, for which Rubens created virtuoso ceiling paintings. The authors also show how more humble genres such as religious folk prints, illustrated saints' lives and school, emblem and prayer books were also used to win over as many believers as possible, both at home and in distant overseas territories.
La collezione Corsini di Roma : dalle origini alla donazione allo Stato italiano : dipinti e sculture by 
A Cultural History of Color in the Medieval Age by
A Cultural History of Color in the Medieval Age covers the period 500 to 1400. The medieval age saw an extraordinary burst of color - from illuminated manuscripts and polychrome sculpture to architecture and interiors, and from enamelled and jewelled metalwork to colored glass and the exquisite decoration of artefacts. Color was used to denote affiliation in heraldry and social status in medieval clothes. Color names were created in various languages and their resonance explored in poems, romances, epics, and plays. And, whilst medieval philosophers began to explain the rainbow, theologians and artists developed a color symbolism for both virtues and vices. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts.Carole P. Biggam is Honorary Senior Research Fellow in English Language and Linguistics at the University of Glasgow, UK. Kirsten Wolf is Professor of Old Norse and Scandinavian Linguistics at the University of Wisconsin-Madison, USA. Volume 2 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf
Style and Society by
Style & Society: Dressing the Georgians reveals what we can learn about society in Georgian Britain through the sumptuous fashionable dress of the era. Explore the history of Georgian clothing through the unique holdings of the Royal Collection, from masterpieces by such artists as Gainsborough and Hogarth, drawings, miniatures, fashion periodicals, swords and jewellery to surviving examples of carefully preserved garments and accessories. As well as the world of high fashion, including clothing commissioned, worn and collected by the royal family and their circle, discover nonelite dress and a surprising abundance of objects that tell a story of revolution: Queen Charlotte adopting the aprons traditionally associated with working-class dress and the Prince of Wales wearing Whig buff and blue inspired by American Revolutionary ideals. From textiles and techniques of production, cleaning and dyeing to the Georgian shopping experience, enter the world of fashion for Georgian men, women and children, cosmetics and hairstyles, court ceremony and ritual, clothing worn in battle and influences from Europe and afar, including Britain's love-hate relationship with France and materials imported from China and beyond. Published to accompany an exhibition opening in March 2023 at The Queen's Gallery, Buckingham Palace, this book also serves as a standalone guide to the dress of the Georgian period.
Raphaël à Chantilly : le maître et ses élèves by 
El hijo pródigo de Murillo y el arte de narrar en el Barroco andaluz by 
The Accidental Duchess by
'The Duchess does indeed seem a remarkable woman . . . this is an engaging book' - Lynn Barber, Daily Telegraph When Emma Watkins, the pony-mad daughter of a Welsh farmer, imagined her future, she imagined following in her mother's footsteps to marry a farmer of her own. But then she fell in love with David Manners, having no idea that he was heir to one of the most senior hereditary titles in the land. When David succeeded his father, Emma found herself the chatelaine of Belvoir Castle, ancestral home of the Dukes of Rutland. She had to cope with five boisterous children while faced with a vast estate in desperate need of modernization and staff who wanted nothing to change - it was a daunting responsibility. Yet with sound advice from the doyenne of duchesses, Duchess 'Debo' of Devonshire, she met each challenge with optimism and gusto, including scaling the castle roof in a storm to unclog a flooding gutter, being caught in her nightdress by mesmerized Texan tourists and disguising herself as a cleaner to watch filming of The Crown. She even took on the castle ghosts . . . At times the problems she faced seemed insoluble yet, with her unstoppable energy and talent for thinking on the hoof, she won through, inspired by the vision and passion of those Rutland duchesses in whose footsteps she trod, and indeed the redoubtable and resourceful women who forged her, whose homes were not castles but remote farmhouses in the Radnorshire Hills. Vividly written and bursting with insights, The Accidental Duchess will appeal to everyone who has visited a stately home and wondered what it would be like to one day find yourself not only living there, but in charge of its future.
Conserving Canvas by
The most authoritative publication in nearly fifty years on the subject of conserving paintings on canvas. In 2019, Yale University, with the support of the Getty Foundation, held an international conference, where nearly four hundred attendees from more than twenty countries gathered to discuss a vital topic: how best to conserve paintings on canvas. It was the first major symposium on the subject since 1974, when wax-resin and glue-paste lining reigned as the predominant conservation techniques. Over the past fifty years, such methods, which were often destructive to artworks, have become less widely used in favor of more minimalist approaches to intervention. More recent decades have witnessed the reevaluation of traditional practices as well as focused research supporting significant new methodologies, procedures, and synthetic materials for the care and conservation of paintings on fabric supports. Conserving Canvas compiles the proceedings of the conference, presenting a wide array of papers and posters that provide important global perspectives on the history, current state, and future needs of the field. Featuring an expansive glossary of terms that will be an invaluable resource for conservators, this publication promises to become a standard reference for the international conservation community. The free online edition of this open-access publication is available at getty.edu/publications/conserving-canvas. Also available are free PDF and EPUB downloads of the book.
Saints, Miracles, and Social Problems in Italian Renaissance Art by
In this book, Diana Bullen Presciutti explores how images of miracles performed by mendicant saints-reviving dead children, redeeming the unjustly convicted, mending broken marriages, quelling factional violence, exorcising the demonically possessed-actively shaped Renaissance Italians' perceptions of pressing social problems related to gender, sexuality, and honor. She argues that depictions of these miracles by artists-both famous (Donatello, Titian) and anonymous-played a critical role in defining and conceptualizing threats to family honor and social stability. Drawing from art history, history, religious studies, gender studies, and sociology, Presciutti's interdisciplinary study reveals how miracle scenes-whether painted, sculpted, or printed-operated as active agents of 'lived religion' and social negotiation in the spaces of the Renaissance Italian city.
How We Might Live : At Home with Jane and William Morris by 
The Trees of the Cross by
A revelatory study exploring wood's many material, ecological, and symbolic meanings in the religious art of medieval Germany In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art--as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life.
Isamu Noguchi by
Now available in paperback, this definitive book explores the multidisciplinary career of one of the most experimental and pioneering artists of the 20th century. Encompassing the entirety of Isamu Noguchi's work in sculpture, ceramics, photography, architecture, design, as well as the artist's playscapes, gardens and stage sets for modern dance and theatre performance, this survey explores Noguchi's creative process and lesser-known aspects of his practice, his engagement with a wide range of mediums and cultures, and his innovative achievements over six decades. Brimming with imagery and contributions from an international range of authors, this book helps readers grasp the diversity and patterns of Noguchi's work both in situ and in galleries. Archival photographs of the artist's studios offer glimpses into his experimental attitude towards sculpture. Themes of harmony and dissonance, which were central to his practice, are explored in a series of essays that consider the artist's dual heritage, the Japanese American experience, his worldwide travel and his many influences. It also pays tribute to Noguchi's fruitful collaborations with creatives from a range of industries, such as R. Buckminster Fuller, Martha Graham and Louis Kahn. Throughout the monograph Noguchi's own words provide a critical backdrop towards understanding an artist who embraced many schools of thought, and whose entire life and career set an example for partnership and cooperation across artistic, political and cultural boundaries.
Sarah Cecilia Harrison (1863-1941) by
Sarah Cecilia Harrison (1863-1941) was one of Dublin's finest portrait painters but also immersed herself in the political and social fabric of Dublin life, becoming the first female City Councillor in 1912. Deeply involved in philanthropic, political, civic, and artistic efforts, she was a staunch supporter and ally of Hugh Lane in the establishment of a modern art gallery for Dublin. In tandem with her artistic talents, Harrison was a progressive and enlightened woman but her contribution to the cultural and political life of Dublin has previously been overlooked. This publication, generously illustrated with paintings by Harrison, will restore and champion Harrison's position as a woman who not only was a notable artistic talent but also made major contributions to the social and cultural fabric of Dublin life.
Bellotto : Zauber des Realen : Bernardo Bellotto am sächsischen Hof by
Der aus Venedig stammende Kunstler Bernardo Bellotto (1722-1780) gilt als einer der bedeutendsten Vedutenmaler des 18. Jahrhunderts. Nach seinen Anfangen in der Lagunenstadt lebte er ab 1747 in Dresden und schuf fur den sachsischen Kurfursten, polnischen Konig und Groaherzog von Litauen, Friedrich August III., aber auch fur dessen Premierminister Heinrich Graf von Bruhl groaformatige Ansichten der Residenzstadt und ihrer Umgebung. Nach Zwischenstationen in Wien und Munchen ubersiedelte der Kunstler 1766 nach Warschau. Bis heute geben uns seine Gemalde einen einzigartigen Einblick in Architektur und Alltagsleben der Barockzeit.
Philip IV and the World of Spain's Rey Planeta by
Did Spain fall into decline or flourish in the seventeenth century?This edited collection looks at perceptions and representations of Philip IV, Spain's 'Planet King', and his government against the backdrop of the seventeenth-century General Crisis in Europe, wars, revolutions and a sovereign debt crisis. Scholars often associate Philip's reign (1621-1665) with decline, decadence, crisis, stagnation and adversity (as did many contemporaries); yet the glittering cultural and artistic achievements (enhanced by his patronage) of the period led it to be dubbed 'the' Golden Age. The book analyses these contradictions, examining Philip's own understanding of kingship and how he and his courtiers used art and ceremony to project an image of strength, tradition, culture and prestige, while, at the same time, the empire grappled with revolts in Europe and falling trade with its New World colonies.
Velázquez's King Philip IV of Spain from the Frick Collection by
An accessible history of The Frick's magnificent 'King Philip IV of Spain' by Velázquez, loaned to The Meadows Museum (Texas), famed for its collection of Spanish art.
Surréalisme au féminin? by 
Constructing Power and Place in Mesoamerica by
Identities of power and place, as expressed in paintings from the periods before and after the Spanish conquest of Mesoamerica, are the subject of this book of case studies from Central Mexico, Oaxaca, and the Maya area. These sophisticated, skillfully rendered images occur with architecture, in manuscripts, on large pieces of cloth, and on ceramics.
Women and Power at the French Court, 1483-1563 by
Women and Power at the French Court, 1483--1563 explores the ways in which a range of women " as consorts, regents, mistresses, factional power players, attendants at court, or as objects of courtly patronage " wielded power in order to advance individual, familial, and factional agendas at the early sixteenth-century French court. Spring-boarding from the burgeoning scholarship of gender, the political, and power in early modern Europe, the collection provides a perspective from the French court, from the reigns of Charles VIII to Henri II, a time when the French court was a renowned center of culture and at which women played important roles. Crossdisciplinary in its perspectives, these essays by historians, art and literary scholars investigate the dynamic operations of gendered power in political acts, recognized status as queens and regents, ritualized behaviors such as gift-giving, educational coteries, and through social networking, literary and artistic patronage, female authorship, and epistolary strategies.
Challenging Women's Agency and Activism in Early Modernity by
Examining women's agency in the past has taken on new urgency in the current moment of resurgent patriarchy, Women's Marches, and the global #MeToo movement. The essays in this collection consider women's agency in the Renaissance and early modern period, an era that also saw both increasing patriarchal constraints and new forms of women's actions and activism. They address a capacious set of questions about how women, from their teenage years through older adulthood, asserted agency through social practices, speech acts, legal disputes, writing, viewing and exchanging images, travel, and community building. Despite family and social pressures, the actions of girls and women could shape their lives and challenge male-dominated institutions. This volume includes thirteen essays by scholars from various disciplines, which analyze people, texts, objects, and images from many different parts of Europe, as well as things and people that crossed the Atlantic and the Pacific.
English Aristocratic Women and the Fabric of Piety, 1450-1550 by
The role played by women in the evolution of religious art and architecture has been largely neglected. This study of upper-class women in the fifteenth and sixteenth centuries corrects that oversight, uncovering the active role they undertook in choosing designs, materials, and locations for monuments, commissioning repairs and additions to many parish churches, chantry chapels, and almshouses characteristic of the English countryside. Their preferred art, Barbara J. Harris shows, reveals their responses to the religious revolution and signifies their preferred identities.
Vittoria Colonna by
This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna's influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women's place in Italian literature: no mere imitator or follower, but an innovator and founder of schools in her own right.
Petrarch and the Making of Gender in Renaissance Italy by
This book is a new history of early modern gender, told through the lyric poetry of Renaissance Italy. In the evolution of Western gender roles, the Italian Renaissance was a watershed moment, when a confluence of cultural developments disrupted centuries of Aristotelian, binary thinking. Men and women living through this upheaval exploited Petrarchism's capacity for subjective expression and experimentation - as well as its status as the most accessible of genres - in order to imagine new gendered possibilities in realms such as marriage, war, and religion. One of the first studies to examine writing by early modern Italian men and women together, it is also a revolutionary testament to poetry's work in the world. These poets' works challenge the traditional boundaries drawn around lyric's utility. They show us how poems could be sites of resistance against the pervading social order - how they are texts capable not only of recording social history, but also of shaping it.
Genevra Sforza and the Bentivoglio by
Genevra Sforza (ca. 1441-1507) lived her long life near the apex of Italian Renaissance society as wife of two successive de facto rulers of Bologna: Sante Bentivoglio then Giovanni II Bentivoglio. Placed there twice without a dowry by Duke Francesco Sforza as part of a larger Milanese plan, Genevra served the Bentivoglio by fulfilling the gendered role demanded of her by society, most notably by contributing eighteen children, accepting many illegitimates born to Giovanni II, and helping arrange their futures for the success of the family at large. Based on contemporary archival research conducted across Italy, this biography presents Genevra as the object of academic study for the first time. The book also explores how Genevra's life-story, filled with a multitude of successes appropriate for an elite fifteenth-century female, has been transformed into a farraginous body of misogynistic legends claiming she destroyed the Bentivoglio and the city of Bologna.
Invisible Women : Forgotten Artists of Florence by 
Il meglio maestro d'Italia : Perugino nel suo tempo by 
Galleria Borghese Catalogo Generale. Ediz. Illustrata by
The book is dedicated to the extraordinary collection of Late Renaissance, Baroque, and Neoclassical sculpture preserved in the Borghese Gallery in Rome. Text in Italian.
Lotto, Romanino, Moretto, Ceruti by 
Giovanni Bellini : influences croisées by 
Theodoor Rombouts : Virtuoso of Flemish Caravaggism by 
Playful Pictures by
In Playful Pictures, Chriscinda Henry explores the rise of private art collection in Renaissance Venice as a diporto, or pastime, practiced within a kaleidoscopic matrix of domestic leisure that encompassed the recitation of poetry and tales, games, music making, amateur theatrical activity, and the conversational arts. Between around 1490 and 1550, a new class of pictures emerged in Venice. These images--primarily paintings but also drawings, prints, book illustrations, and historiated architectural elements--feature quotidian, festive, allusive, and performative subjects that catered to the cultural and intellectual interests of avant-garde patrons and collectors. Several generations of Venetian artists, including Vittore Carpaccio, Giorgione, Titian, Sebastiano del Piombo, Giovanni Cariani, Bernardino Licinio, and Paris Bordon, rose to meet the demand of modern collectors seeking entertaining artworks that could speak to their personal values and taste. Playful Pictures connects painting and the graphic arts with other art forms engaged in the home: vernacular literature and the novella tradition; pastoral music, verse, and theater; urban dialect comedies; and carnival and ludic culture. Taking an interdisciplinary approach that treats these pursuits as linked forms of creative practice, Henry argues that they served as dynamic forms of personal and collective expression for patrons, collectors, artists, and other virtuosi seeking to express a new set of secular values and a contingent notion of selfhood. Incorporating fresh evidence from archival sources, this book expands the discourse on Renaissance art by situating it within the growing, and increasingly nuanced, scholarly understanding of Renaissance leisure and entertainment culture.
Irene Parenti Duclos : a Work Restored, an Artist Revealed by 
Prospero Fontana "pictor bononiensis" (1509-1597) : catalogo ragionato dei dipinti by 
The Whole Picture by
If you think art history has to be pale, male and stale - think again. Should museums be made to give back their marbles? Is it even possible to 'decolonise' our galleries? Must Rhodes fall? From the stolen Wakandan art in Black Panther, to Emmanuel Macron's recent commitment to art restitution, and Beyoncé and Jay Z's provocative music video filmed in the Louvre, the question of decolonising our relationship with the art around us is quickly gaining traction. People are waking up to the seedy history of the world's art collections, and are starting to ask difficult questions about what the future of museums should look like. In The Whole Picture, art historian and Uncomfortable Art Tour guide Alice Procter provides a manual for deconstructing everything you thought you knew about art, and fills in the blanks with the stories that have been left out of the art history canon for centuries. The book is divided into four chronological sections, named after four different kinds of art space: The Palace The Classroom The Memorial The Playground Each section tackles the fascinating and often shocking stories of five different art pieces, including the propaganda painting that the East India Company used to justify its control in India; the Maori mokomokai skulls that were traded and collected by Europeans as 'art objects'; and Kara Walker's controversial contemporary sculpture A Subtlety, which raised questions about 'appropriate' interactions with art. Through these stories, Alice brings out the underlying colonial narrative lurking beneath the art industry today, and suggests different ways of seeing and thinking about art in the modern world. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.
The Sounding Cosmos by
For a long time, few people knew about spiritualism's impact on the birth of abstract art. But when the Swedish art historian Sixten Ringbom's book The Sounding Cosmos was published in 1970, the writing of history changed forever. Through his research on Wassily Kandinsky, one of the pivotal figures in modern art, Ringbom could show, among other things, how theosophy and esoteric teachings were absolutely essential to the development of non-figurative painting. This discovery generated great debate, and the book was both celebrated and controversial. To this day, it is an art history classic that continues to be discussed, especially since people's views of both art and religion are continuously changing. In recent years, the attention given to Hilma af Klint has increased interest in the significance of the spiritual and in turn has focused new light on Kandinsky and others in the first generation of abstract painters. The Sounding Cosmos is now being published for the first time in a new edition. The richly illustrated original text has been supplemented with a new foreword by Daniel Birnbaum and Julia Voss.
Requisizioni napoleoniche : recuperi, dispersioni e musealizzazione tra le Marche e la Lombardia by 
Displaying Art in the Early Modern Period by
From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period. The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art. The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.
Jan Van Eyck's Crucifixion and Last Judgment by
Among the most intriguing and confounding works of Jan van Eyck's oeuvre are the Crucifixion and Last Judgment in New York's Metropolitan Museum of Art. Although acquired in 1933 as a diptych, questions have remained about their initial configuration, and how these paintings functioned. The recent technical investigations of the paintings and their original frames added further complexities to these inquiries when a fragmentary text in Middle Dutch was discovered through X-radiography on the frames surrounding the two paintings. The many facets of the ensuing investigation necessitated an interdisciplinary collaboration of researchers involving an art historian, paintings conservator, and museum scientist - namely, Maryan Ainsworth, Sophie Scully, and Silvia Centeno. Moreover, the new discovery of the formerly hidden text called for the enrichment of the interdisciplinary team by a paleographer and a classical philologist, Marc Smith and Christina Meckelnborg. This book relates the unfolding story of the investigations from in-depth technical research, facilitating the conservation treatment of the frames, to the art historical study that connected these findings to the religious, political, and social contexts of the times. Through considerable interdisciplinary detective work, it was possible to reach a new understanding about the original form and function of the Crucifixion and Last Judgment and their pivotal role concerning devotions to a cherished relic, the Miraculous Bleeding Host, housed in the then collegiate church of Saint Michael and Saint Gudula in Brussels. The implications of these discoveries also shed new light on the relationship between The Met Crucifixion and Van Eyck's metalpoint drawing of the same theme in the Museum Boijmans Van Beuningen, Rotterdam. Finally, the study of the Crucifixion and the Last Judgment draws attention to commissions Van Eyck received that are somewhat outside of the canon of works usually associated with this esteemed artist.
Maiolica in Italy and Beyond Hb by
A celebration of the work of Professor Timothy Wilson and his unrivalled knowledge and enthusiasm for Italian Maiolica.
Tales of the City by
An innovative examination of sixteenth-century Netherlandish drawing against the backdrop of the urban economic boom, the Protestant Reformation, and the Eighty Years' War Featuring works by Hieronymus Bosch (c. 1450-1516), Jan Gossaert (c. 1478-1532), Maarten van Heemskerck (1498-1574), Pieter Bruegel the Elder (c. 1525-1569), Hendrick Goltzius (1558-1617), and others, this book positions drawing in the Low Countries in the sixteenth century as a dynamic, multifaceted practice. Drawings played roles as varied as the artists who made them: they were designs for prints, paintings, stained glass windows, decorative objects, and tapestries, as well as tools for presentation, translation, and the display of knowledge and virtuosity. The artists' diversified urban communities shaped their drawing practices, as did shifting cultural and political circumstances surrounding Protestant Reform and the Eighty Years' War. In addition to the book's four illuminating essays, many of the more than eighty catalogue entries--selected from the holdings of The Albertina Museum and the Cleveland Museum of Art--present new research.
Monet / Mitchell by
Monet / Mitchell is the first US exhibition to examine the complex relationship between the paintings of the preeminent French Impressionist Claude Monet (1840-1926) and the leading American artist Joan Mitchell (1925-1992). The catalogue assembles 24 paintings, 12 by each artist, and examines the intense closeness to nature of these two artists and the ways in which they addressed similar subject matter and techniques. The paintings are primarily drawn from the spectacular collections of the Museé Marmottan Monet and the Fondation Louis Vuitton, and the Saint Louis Art Museum.
Clouds, Ice, and Bounty by 
Clara the Rhinoceros by
A visual history of the 18th-century rhinoceros and her unusual life as cultural icon and captive creature In 1741 a ship arrived in the Netherlands carrying a miraculous animal that few people in Europe had seen before: a young female rhinoceros from India named Clara. For 17 years, Clara traveled with her owner Douwe Mout through almost every country in Europe. Wherever she appeared, she made a sensation, becoming the most famous rhino in European history. Artists such as Jan Wandelaar, Johann Elias Ridinger, Petrus Camper, Georges-Louis Leclerc, Comte de Buffon and Pietro Longhi immortalized her in paintings, drawings, sculptures and medals; she even influenced fashion; and she permanently corrected the false image of a rhinoceros perpetuated by Dürer in his famous 1515 engraving. Based on new research, Gijs van der Ham, a former senior curator at the Rijksmuseum, reconstructs her life, travels and captivity, and unravels her influence on the iconography and knowledge of rhinoceroses.
Roman Landscapes by
This catalogue is published on the occasion of the exhibition "Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii", on view at the San Antonio Museum of Art from February 24 to May 21, 2023.
Revisiting Raphael's Vatican Stanze by
Painted between 1508 and 1524, Raphael's Vatican Stanze are counted among the greatest masterpieces in Western art. The quincentennial of the artist's death brings with it a new opportunity to reappraise these canonical works. In celebration of this occasion, this volume offers new interpretations of these famous Vatican spaces, addressing questions of meaning and invention, artistic process and design, patronage and ritual, and workshop collaborations. With all rooms and details published in color, including ceilings and basamenti, it constitutes an essential resource for further study of these important Renaissance artworks. Contributors include: Kim Butler Wingfield, Tracy Cosgriff, Paul Gwynne, Marcia Hall, Tom Henry, Christian Kleinbub, Elizabeth McCahill, Nelson Minnich, John O'Malley, Lisa Pon, Patricia Reilly, Sheryl Reiss, Ingrid Rowland, Maria Ruvoldt, and Linda Wolk-Simon.
Let Us Now Not Boast about Our Worldly Possessions by 
Authorizing Early Modern European Women by
The essays in this volume analyze strategies adopted by contemporary novelists, playwrights, screenwriters, and biographers interested in bringing the stories of early modern women to modern audiences. It also pays attention to the historical women creators themselves, who, be they saints or midwives, visual artists or poets and playwrights, stand out for their roles as active practitioners of their own arts and for their accomplishments as creators. Whether they delivered infants or governed as monarchs, or produced embroideries, letters, paintings or poems, their visions, the authors argue, have endured across the centuries. As the title of the volume suggests, the essays gathered here participate in a wider conversation about the relation between biography, historical fiction, and the growing field of biofiction (that is, contemporary fictionalizations of historical figures), and explore the complicated interconnections between celebrating early modern women and perpetuating popular stereotypes about them.
Pastellmalerei Vor 1800 by
Pastelle des 18. Jahrhunderts faszinieren - entweder aufgrund ihrer Naturnähe und Unmittelbarkeit oder aufgrund der Virtuosität ihrer Ausführung, immer jedoch wegen ihrer kostbar-fragilen Beschaffenheit. Der reich illustrierte Sammlungsführer informiert in kompakter Form über alle vor 1800 entstandenen Werke der Gattung in den Bayerischen Staatsgemäldesammlungen. Mehr als ein Dutzend Meisterwerke von Joseph Vivien, Maurice Quentin de La Tour, Rosalba Carriera und Jean-Étienne Liotard zählen ebenso dazu wie anonyme Arbeiten. Einleitende Essays beleuchten kunsthistorische, sammlungsgeschichtliche sowie kunsttechnologische Aspekte. Zur Ausstellung "Vive le Pastel! Pastellmalerei von Vivien bis La Tour", 7. Mai - 23. Oktober 2022, Alte Pinakothek, Bayerische Staatsgemäldesammlungen, München
Plautilla Nelli : arte e devozione sulle orme di Savonarola = Art and devotion in Savonarola's footsteps by 
Bayerische Staatsgemäldesammlungen. Neue Pinakothek. Katalog der Skulpturen - Band I by
Ludwig I., der Gründer der Neuen Pinakothek, hat neben seiner Sammlung zeitgenössischer Malerei von Angelika Kauffmann bis Arnold Böcklin auch Skulpturen bedeutender Bildhauer wie Antonio Canova und Bertel Thorvaldsen angekauft. Hinzu kamen etliche Büsten von Bildhauern wie Christian Daniel Rauch und Friedrich Tieck, die ursprünglich für die Walhalla oder die Ruhmeshalle bestimmt waren. Schließlich ließ der König durch Bildhauer wie Johann Halbig zahlreiche Dichter sowie Maler porträtieren, von denen er zuvor Gemälde erworben hatte. Auf diese Weise entstand eine außergewöhnliche Sammlung von Porträtbüsten aus Gips, die als Pantheon zeitgenössischer Künstler in der Neuen Pinakothek aufgestellt war. Alle diese Skulpturen aus der Sammlung Ludwigs I. wurden nun erstmals wissenschaftlich bearbeitet. Der vorliegende Band, der erste des auf drei Bände angelegten Bestandskataloges sämtlicher Skulpturen des 19. Jahrhunderts in der Neuen Pinakothek, stellt die Werke in farbigen Neuaufnahmen vor und beleuchtet den Kontext ihrer Entstehung.
Saint Francis of Assisi by
Exploring the life, imagery and lasting appeal of Saint Francis of Assisi (1182-1226), this landmark book features a core of important historic paintings representing the saint by Giotto, Sassetta, Caravaggio, Zurbarán and El Greco. From his native Umbria, Saint Francis's image spread rapidly to become a global phenomenon and a continuous source of artistic fascination. His commitment to the poor, powerful appeals for peace, openness to dialogue with other religions and embryonic environmentalism radically impacted the Church and society of his time, and still hold great interest today. Spanning seven centuries and ranging from the earliest, relic-like objects to contemporary art in a variety of media, including works by Antony Gormley, Giuseppe Penone and a new commission from Richard Long, Saint Francis of Assisi reflects on the lasting legacy of Saint Francis - an inherently modern figure who retains a universal appeal. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London, 6 May-30 July 2023
Hugo Van der Goes by
Hugo van der Goes (c. 1440-1482) was the most important Netherlandish artist of the second half of the 15th century. His innovative pictorial compositions are characterised by monumental figures and realistic narrative moments. They paved the way for the development of Netherlandish painting during the following centuries. The artist worked in Ghent and in the Roode Monastery near Brussels. His works were admired by his contemporaries and were copied countless times until well into the 17th century. This modern monograph pays tribute to the character and importance of his numerically modest works. It juxtapose his great altarpieces with more intimate panels, drawings and miniatures as well as works from his immediate circle. Lavishly illustrated and competently explained, the publication creates a comprehensive overview of the creative oeuvre of a magnificent artist.
Die Sammlung der Niederländischen Zeichnungen in Weimar by
Die Klassik Stiftung Weimar besitzt eine umfangreiche Sammlung niederlandischer und flamischer Zeichnungen vom 15. bis 19. Jahrhundert. Im Rahmen des Forschungsprojekts Kennerschaft heute wurde der Bestand der uber 1500 Zeichnungen erstmals wissenschaftlich erschlossen. Das Handbuch fuhrt anhand bedeutender Werkgruppen, darunter Zeichnungen von Lucas van Leyden, Dirck Vellert, Roelant Savery und Rembrandt, den Reichtum der Weimarer Sammlung vor Augen, die zum grossen Teil auf die Sammelleidenschaft von Johann Wolfgang Goethe zuruckgeht. Im Zentrum des Buches steht die Zusammenarbeit von traditioneller Stilkritik und naturwissenschaftlicher Materialanalyse. In elf Fallbeispielen wird die Notwendigkeit einer methodischen Neuausrichtung der Kennerschaft dargelegt. Einen Schwerpunkt der Untersuchungen bildet hierbei das grosse Konvolut an Zeichnungen von Rembrandt und seinen Schulern, das erstmals systematisch auf die verwendeten Zeichenmaterialien und Papiere untersucht wird.
Vermeer - the Rijksmuseum's Major Exhibition Catalogue by
PUBLISHED TO ACCOMPANY THE ONCE-IN-A-LIFETIME EXHIBITION AT THE RIJKSMUSEUM, AMSTERDAM, THIS IS THE FIRST MAJOR STUDY ON VERMEER'S LIFE AND WORK FOR MANY YEARS. ---------- 'Proust was once so excited to see a Vermeer show that he collapsed ... I got chest pains merely leafing through the catalogue' Jonathan Jones, Guardian 'Invest in the fat catalogue, stuffed with scholarly discoveries and photographic closeups, and you will learn about everything from Vermeer's optical mastery to his moral symbolism' Rachel Campbell-Johnston, The Times 'Excellent' Artists & Illustrators 'Getting a ticket for the once-in-a-lifetime Vermeer exhibition, above, at the Rijksmuseum in Amsterdam this year might frankly be a bit of a challenge, but you can at least console yourself with the exhibition catalogue, published by Thames & Hudson, which is a gorgeous thing. Nothing matches seeing a painting in the flesh, but this comes mightily close.' The Herald ---------- Vermeer's intensely quiet and enigmatic paintings invite the viewer into a private world, often prompting more questions than answers. Who is being portrayed? Are his subjects real or imagined? And how did he create such an unrivalled sense of intimacy? Bringing together diverse strands of the Dutch master's professional and private worlds, this is the first major authoritative study of Vermeer's life and work for many years, throwing light on all thirty-seven of his paintings. The book was designed by Irma Boom, the 'Queen of Books', and printed on an uncoated 'Munken Print White' paper, specially commissioned to ensure the veracity of colours. Irma Boom says: 'the matte paper brings you closer to Vermeer; there is no gloss or glare in between, just like with the real works.' With a wide selection of contextual illustrations, commentaries and up-to-date research by distinguished international Vermeer scholars, this is the definitive volume on the most admired of all seventeenth-century Dutch masters. With contributions by Bart Cornelis, National Gallery, London Bente Frissen, Rijksmuseum, Amsterdam Sabine Pénot, Kunsthistorisches Museum, Vienna Pieter Roelofs, Rijksmuseum, Amsterdam Friederike Schuett, Staedel Museum, Frankfurt am Main Christian Tico Seifert, National Galleries of Scotland, Edinburgh Ariane van Suchtelen, Mauritshuis, The Hague Gregor J.M. Weber, Rijksmuseum, Amsterdam Marjorie E. Wieseman, National Gallery of Art, Washington
From Donatello to Alessandro Vittoria 1450-1600 : 150 years of sculpture in the Republic of Venice by 
From Idols to Icons by
Even the briefest glance at an art museum's holdings or an introductory history textbook demonstrates the profound influence of Christian images and art. From Idols to Icons tells the fascinating history of the dramatic shift in Christian attitudes toward sacred images from the third through the early seventh century. From attacks on the cult images of polytheism to the emergence of Christian narrative iconography to the appearance of portrait-type representations of holy figures, this book examines the primary theological critiques and defenses of holy images in light of the surviving material evidence for early Christian visual art. Against the previous assumption that fourth- and fifth-century Christians simply forgot or ignored their predecessors' censure and reverted to more alluring pagan practices, Robin M. Jensen contends that each stage of this profound change was uniquely Christian. Through a careful consideration of the cults of saints' remains, devotional portraits, and pilgrimages to sacred sites, Jensen shows how the Christian devotion to holy images came to be rooted in their evolving conviction that the divine was accessible in and through visible objects.
Missionary Men in the Early Modern World by
How did gender shape the expanding Jesuit enterprise in the early modern world? What did it take to become a missionary man? And how did missionary masculinity align itself with the European colonial project? This book highlights the central importance of male affective ties and masculine mimesis in the formation of the Jesuit missions, as well as the significance of patriarchal dynamics. Focusing on previously neglected German actors, Strasser shows how stories of exemplary male behavior circulated across national boundaries, directing the hearts and feet of men throughout Europe toward Jesuit missions in faraway lands. The sixteenth-century Iberian exemplars of Ignatius of Loyola and Francis Xavier, disseminated in print and visual media, inspired late-seventeenth-century Jesuits from German-speaking lands to bring Catholicism and European gender norms to the Spanish-controlled Pacific. The age of global missions hinged on the reproduction of missionary manhood in print and real life.
Begehrt, Beschwiegend, Belastend by
Funktionare und Organisationen der NSDAP sammelten in der NS-Zeit massenweise Kunstgegenstande, denen als Symbol fur Macht und Grosse immense Bedeutung im Nationalsozialismus zukam. Die Methoden und Motive, mit denen sie ihre Sammlungen aufbauten, sind in den vergangenen Jahren vermehrt untersucht worden. Wenig ist hingegen daruber bekannt, was mit diesen Kunstwerken nach 1945 geschehen ist. Die Studie wird dieser Frage mit Blick auf den Freistaat Bayern nachgehen, wo die Alliierten den umfassenden Kunstbesitz von Adolf Hitler, Hermann Goring, Heinrich Hoffmann und anderen Parteifunktionaren sicherstellten. Rund 900 Kunstgegenstande aus diesen Sammlungen sind vor allen in den 1950er- und 1960er-Jahren uber staatliche Stellen in den Bestand der Bayerischen Staatsgemaldesammlungen eingegangen. Doch auf welcher Grundlage sind so viele Kunstwerke aus NS-Besitz an den Freistaat Bayern ubereignet worden und wie sind die Verantwortlichen der Bayerischen Staatsgemaldesammlungen und der bayerischen Behorden mit diesem Erbe umgegangen? Anhand zahlreicher Quellen erforscht die Studie die lange Nachgeschichte des nationalsozialistischen Sammelwahns, die auch eine Geschichte von grosser Profitgier, taktischem Schweigen und einem nur verzogert und sehr langsam wachsenden Verantwortungsgefuhl ist.
Vermeer in München : König Max I. Joseph von Bayern als Sammler Alter Meister by 
Karel Van Mander and His <i>Foundation of the Noble, Free Art of Painting</i> by
Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander's crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author's distinctive views on the complementary forms and functions of history and landscape.
Paul Gauguin : the other and I by 
Pierre Bonnard Beyond Vision by
An unparalleled reassessment of Pierre Bonnard, exploring his paintings, drawings, photography, and prints As one of the founders of the post-Impressionist group the Nabis, French artist Pierre Bonnard (1867-1947) is frequently seen as a transitional figure between the Impressionists and modernists. This beautifully illustrated book offers a fresh interpretation, revealing the artist's central concern with expanding representation beyond the limits of natural vision. The result is a new understanding not only of Bonnard but of modernism itself. Exploring how Bonnard's dazzling domestic scenes and landscapes reimagine perception, embodiment, and the passage of time, Lucy Whelan characterizes him as a painter of unusual insight in his consideration of the relationship between vision and representation. The book covers Bonnard's paintings, drawings, photographs, and prints, with special focus on his later works from the 1920s to his death in 1947, and draws on an in-depth study of the artist's diaries, interviews, and other written sources. A groundbreaking reassessment, Pierre Bonnard Beyond Vision presents an artist engaged in avant-garde forms of experimentation who complicated vision in innovative ways.
Early Gainsborough : "from the obscurity of a country town" by 
Gainsborough in London by
Thomas Gainsborough's (1727-88) London years, from 1774 to 1788, were the pinnacle and conclusion of his career. They coincided with the establishment of the Royal Academy, of which Gainsborough was a founding member, and the city's ascendance as a center for the arts. This is a meticulously researched and readable account of how Gainsborough designed his home and studio and maintained a growing schedule of influential patrons, making a place for himself in the art world of late-18th-century London. New material about Gainsborough's technique is based on examinations of his pictures and firsthand accounts by studio visitors. His fractious relationship with the Royal Academy and its exhibition culture is reexamined through the works he sent to its annual shows. The full range of Gainsborough's art, from fashionable portraits to landscapes and fancy pictures, is addressed in this major contribution, not just to the study of a great artist, but to 18th-century studies in general.
The historians' history of the world : a comprehensive narrative of the rise and development of nations as recorded by over two thousand of the great writers of all ages by 
Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, 1946-1994 by
This innovative and long-awaited catalogue raisonné brings together, for the first time, all the known paintings on canvas and panel of California-born abstract expressionist Sam Francis (1923-1994) and offers a comprehensive chronicle of his artistic journey. One of the twentieth century's leading interpreters of light and color, Francis maintained studios not only in New York and Los Angeles, but also in Paris, Bern, and Tokyo, making his reach truly international. Elegantly boxed, the Sam Francis catalogue raisonné includes a richly illustrated book with informative texts and two DVDs with authoritative entries for the canvas and panel paintings in an easily browsable, groundbreaking format. It offers the ultimate reference on this artist and a vital research tool. * Color images and documentation for all 1,850-plus paintings on canvas and panel by Francis (hundreds reproduced for the first time) on two DVDs * A lavish book with an extended essay by Francis scholar William C. Agee and a biographical timeline by catalogue raisonné editor Debra Burchett-Lere * Rare footage of Francis at work, writings by the artist, and descriptions of his studios and techniques * Access to electronic updates as they become available * Easily searchable information in a groundbreaking, twenty-first-century format
Riemenschneider and Late Medieval Alabaster by
At the center of this publication is Tilman Riemenschneider's Saint Jerome and the Lion, one of the masterpieces of the Cleveland Museum of Art. Riemenschneider's Saint Jerome is not only one of the artist's more important early masterpieces, it is also his only alabaster work in a collection in the USA. Said to have come from the Benedictine abbey church of Saint Peter in Erfurt, Germany, this sculpture by Tilman Riemenschneider (c.1460-1531), dated to c. 1495, depicts the church father Saint Jerome as he removes a thorn from the paw of a lion, a legendary account of the saint's kindness. Following the common iconography of the scene, Jerome is dressed in the traditional robes of a Roman cardinal, with the cowl draped over his tonsured head and the broad-brimmed hat on his right leg. Traces of polychromy and gilding suggest that it was once brightly colored. Drill holes in the hat further indicate that cords and tassels of fabric, typical of a cardinal's hat, would once have decorated the sculpture. Whether the statue was originally commissioned for an altar in a private chapel or smaller space in the monastery remains unknown. Alabaster was prized for its luster and capacity for fine details from the fourteenth to the sixteenth century. The gleaming stone was used for altarpieces and small sculptures, as well as the tombs of wealthy princes. The book unites works from the medieval collection of the Cleveland Museum of Art and selected masterworks from North American museums and the Louvre in Paris, which allows insight into the characteristics of alabaster sculptures in this period. It is striking that these works are of such a particularly exquisite quality that this material was used especially for high-ranking commissions, such as the tomb of Duke Philip the Bold of Burgundy in Champmol near Dijon. The book is accompanied by several essays that examine the subject of alabaster sculpture from different perspectives.
Raphael by
A definitive overview of one of the most celebrated figures of the Italian Renaissance Among the great figures of the Italian Renaissance, Raphael (1483-1520) is unarguably the artist who has been most widely and consistently admired across the centuries. He had an extraordinary and perhaps unrivaled capacity for self-reinvention--as he progressed from Umbria to Florence and Rome--and an ability to draw strength from the other great artists around him, seemingly growing in stature the more daunting the competition became. This insightful, impeccably researched, and comprehensive volume chronicles the progress of his career in all its richness and complexity. Sumptuous production values and generous illustrations go hand in hand with its rigorous and wide-ranging scholarship. The essays explore Raphael's paintings and drawings, his frescoes in the Vatican Stanze, his designs for tapestries, sculptures and prints, and his engagement with architecture. Detailed and authoritative catalogue entries examine many of Raphael's finest works. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London April 9-July 31, 2022
Sebastiano Del Piombo and the Sacred Image by
On account of the artists' collaborative practice, Sebastiano del Piombo's oeuvre is often misconstrued as a coloristic supplement to Michelangelo's disegno or as a mere extension of the older master's drawings and ideas. Marsha Libina's book complicates this narrative by offering a critical reevaluation of the devotional art of Sebastiano del Piombo (1485-1547), an important Venetian artist whose Roman work stands at the nexus of questions regarding art, religious reform and the largely unexplored history of artistic collaboration. Investigating new ways of understanding Sebastiano's interest in soliciting Michelangelo's drawings as catalysts of invention, Libina tells the story of a collaboration driven neither by a compliant imitation of Michelangelo nor the reconciliation of opposing regional styles but, rather, by an interest in hermeneutically productive difference - generating complementary yet divergent approaches to art as a vehicle of reform. This volume presents an in-depth exploration of how Sebastiano's experiments with the sacred image - like Michelangelo's - were formulated in response to the early years of Catholic reform. The years preceding the Council of Trent saw the rise of divisive investigations into the repercussions of an increasingly mediated knowledge of the divine. Libina reveals how these concerns converge in Sebastiano's new language of devotional painting, which embraces an aesthetic of figural stillness, isolation and psychological detachment. At a moment when religious debates and questions about the role of image-based devotion took center stage, Sebastiano's work offered a reflection on what it meant to view and meditate on the body of Christ in the Renaissance altarpiece.
Medieval English Manuscripts and Literary Forms by
In Medieval English Manuscripts and Literary Forms, Jessica Brantley offers an innovative introduction to manuscript culture that uses the artifacts themselves to open some of the most vital theoretical questions in medieval literary studies. With nearly 200 illustrations, many of them in color, the book offers both a broad survey of the physical forms and cultural histories of manuscripts and a dozen case studies of particularly significant literary witnesses, including the Beowulf manuscript, the St. Albans Psalter, the Ellesmere manuscript of the Canterbury Tales, and The Book of Margery Kempe. Practical discussions of parchment, scripts, decoration, illustration, and bindings mix with consideration of such conceptual categories as ownership, authorship, language, miscellaneity, geography, writing, editing, mediation, illustration, and performance--as well as of the status of the literary itself. Each case study includes an essay orienting the reader to particularly productive categories of analysis and a selected bibliography for further research. Because a high-quality digital surrogate exists for each of the selected manuscripts, fully and freely available online, readers can gain access to the artifacts in their entirety, enabling further individual exploration and facilitating the book's classroom use. Medieval English Manuscripts and Literary Forms aims to inspire a broad group of readers with some of the excitement of literary manuscript studies in the twenty-first century. The interpretative frameworks surrounding each object will assist everyone in thinking through the implications of manuscript culture more generally, not only for the deeper study of the literature of the Middle Ages, but also for a better understanding of book cultures of any era, including our own.
Handheld landscapes : the four seasons in Chinese paintings from the Birmingham Museum of Art by 
Hersilia's Sisters by
Political and cultural history and the arts combine in this engaging account of 1790s France. In 1799, when the French artist Jacques-Louis David (1748-1825) exhibited his Intervention of the Sabines, a history painting featuring the ancient heroine Hersilia, he added portraits of two contemporary women on either side of her--Henriette de Verninac, daughter of Charles-François Delacroix, minister of foreign affairs, and Juliette Récamier, a well-known and admired socialite. Drawing on many disciplines, Norman Bryson explains how such a combination of paintings could reveal the underlying nature of the Directoire, the period between the vicious and near-dictatorial Reign of Terror (1793-94) and the coup in 1799 that brought Napoleon to power. Hersilia's Sisters illuminates ways that cultural life and civil society were rebuilt during these years through an extraordinary efflorescence of women pioneers in every cultural domain--literature, the stage, opera, moral philosophy, political theory, painting, popular journalism, and fashion. Through a close examination of David's work between The Intervention of the Sabines (begun in 1796) and Bonaparte Crossing the Alps (begun in 1800), Bryson explores how the flowering of women's culture under the Directoire became a decisive influence on David's art. With more than 150 illustrations, this book provides new and brilliant insight into this period that will captivate readers.
Storytelling in Museums by
With chapters written by a diverse set of practitioners from across the museum field and around the world, Storytelling in Museums explores the efficacy and ethics of storytelling in museums. The book shows how museums use personal, local, and specific stories to make visitors feel welcome while inspiring them to engage with new ideas and unfamiliar situations. At the same time, the book explores the responsibilities of museum practitioners toward the storytellers included in their narratives and how those responsibilities shift over time and manifest in different contexts. The book's eighteen chapters represent a conversation among a diverse set of professionals for whom storytelling connotes their daily museum practice. As educators, collectors, curators, designers, marketers, researchers, planners, and collaborators, the authors of this book consider the "real work" of storytelling from every angle. From the inclusion of personal stories in educational programs to the meta-narratives on display in exhibitions, this book balances practical examples with ethical considerations, placing the praxis of storytelling within the larger context of the 21st century museum. The book moves beyond advocacy for storytelling as an essential part of the museum's toolkit to explore the many ways in which museums use personal stories, and multiple storytelling techniques, to support the larger public narratives embedded in their missions. The contributors demonstrate how museums that emphasize storytelling from multiple angles can serve as a kind of counterpoint to our tendency to fixate on singular images of things we know little about. They encourage museums to both acknowledge that they cannot control the narrative and to embrace their power to contribute to it through the multivalent, multivocal stories they choose to share.
Transforming Inclusion in Museums by
"Inclusion" is a word, a concept, a value, a set of practices, but what should it mean for museum staff and leaders as they envision new ways of being a museum in an emergent future? Political and environmental upheavals, and now a global pandemic, are transforming the museum landscape forever. How can our paradigm for understanding inclusion continue to transform as well? This book offers a new paradigm for understanding inclusion grounded in a retrospective of museum worker efforts to test the limits of inclusion, a reflection on inclusion's advantages and limitations in practice, as well as the integral concerns of racial equity and social justice. Questions throughout the book invite readers to reflect on how their own experiences can add to, and expand on, new ways of thinking about inclusion in museums. Museum workers and lovers can use this book as a tool for engaging with "inclusion" anew, and as a terrain for collaborative inquiry and world-building that can help us imagine and realize new potential for museums in the future.
Effective Diversity, Equity, Accessibility, Inclusion, and Anti-Racism Practices for Museums by
Equal parts autobiography, cautionary tale, and actionable recommendations, this book is as candid and vulnerable as the author insists all seekers of justice be when they embark on a full-scale DEAI initiative anchored in anti-oppression. Since the beginning of her professional museum journey, Cecile Shellman--like many who have been marginalized by systems ill-prepared to support them--has had to engage in cultural realms in which she was not fully represented and where she was sometimes misrepresented or understood. It's difficult being the "only one in the room," while trying to build relations and succeed in your chosen career. Ms. Shellman shares personal relatable stories that explain how harmful inattention to Diversity, Equity, Accessibility, and Inclusion can be to individuals and to the group dynamic. This rare peek behind the curtain of museum culture leaves no holds barred. The telling is done in an entirely approachable, if humbling way. Poignant illustrations and vivid verbal descriptions are designed to take you further into the author's experience as well as providing moments of reflection and humor. Tales from the field--anonymized stories describing microagressions, discrimination, barriers, and roadblocks in the field--are accompanied by questions to spark dialogue and engender empathetic responses. These anecdotes refer to those who share the author's identity and circumstance as well as those who don't. As with all stories, lessons and messages about culture and patterns are told as a point of caution. What might you do if you were participants in these events? How can you build your emotional intelligence to a desired level for your current museum and personal needs? Finally, there are calls to action at the personal, interpersonal, organizational, and systemic levels. True transformation requires complete reassessment of norms bolstered by a broken society. This book provides strategies for implementing change.
Accademie a Bologna nei secoli XVI e XVII : arte, feste e saperi by 
Anne de France (1522-2022) : femme de pouvoir, princesse des arts by 
Roma da sotto a sopra : meraviglie, misteri e curiosità di Roma by 
The academization of art : a practice approach to the early histories of the Accademia del Disegno and the Accademia di San Luca by 
Die Gemälder der Münchner Pinakotheken by
Bilder verhandeln Menschheitsfragen und spiegeln Weltgeschichte. Anhand von über tausend Gemälden entfaltet der Autor unterhaltsam und feinsinnig einen facettenreichen Überblick über kulturhistorische Phänomene wie das Renaissanceporträt, die barocke Stilllebenmalerei, das Denken der Aufklärung und Romantik oder die Abstraktion in der Moderne. Welche menschlichen Themen und Tugenden werden veranschaulicht, welche gesellschaftlichen Ideale berührt? Wie verleihen die Bilder der Selbstbefragung Ausdruck? Die Aktualität der Werke steht dabei stets im Mittelpunkt. BAYERISCHE STAATSGEMÄLDESAMMLUNGENStandorte u.a.In München: Alte Pinakothek, Neue Pinakothek, Pinakothek der Moderne, Sammlung Schack, Sammlung Brandhorst, Staatsgalerien von Ansbach, Aschaffenburg, Augsburg über Bamberg, Bayreuth, Burghausen bis Würzburg
The Cerruti collection : catalogue by 
Art and sensuality in the houses of Pompeii by 
The Gregory Gift by
A visually exquisite publication detailing a one-of-a-kind collection, as showcased by its accompanying exhibition at The Frick. Ranging from Limoges enamels to Saint-Porchaire ware to Rosalba Carriera pastels, The Gregory Gift is a lavishly illustrated presentation of the twenty-eight works of art bequeathed to The Frick Collection by the titular collector. Zurich-born Alexis Gregory (1936-2020) was the son of Russian immigrants whose studies eventually brought him to the United States. Over the course of his life and career, he forged a legacy of elegance as a noted art publisher who served on the committees of institutions such as the Metropolitan Museum of Art, Sotheby's, and Harvard University. Presenting the Alexis Gregory Gift for the first time, this beautiful publication provides illuminating insights into Gregory's collection, cataloging his fine and decorative works of art in detail.
Daniel Katz : a celebration of fifty years immersed in art
Toulouse, 1300-1400 : l'éclat d'un gothique méridional by 
Berthe Morisot : Shaping Impressionism
Late Medieval Italian Art and Its Contexts by
Joanna Cannon's scholarship and teaching have helped shape the historical study of thirteenth- and fourteenth-century Italian art; this essay collection by her former students is a tribute to her work.The essays collected here form a tribute to Joanna Cannon, whose scholarship and teaching have done so much to shape the historical study of thirteenth- and fourteenth-century Italian art. Her teaching lies at the heart of this book, as its chapters are all written by those who gained their doctorates under her supervision. The reach of her interests and expertise is also reflected in its range of subjects. The book is unified by its concentration on Italian art, history, and material culture, spanning the thirteenth to the fifteenth centuries; but within that scope the individual essays focus on an impressive variety of subjects, across many media, including panel painting, wall painting, architecture, sculpture, metalwork, manuscripts, and gilded glass. Ranging across Italy, from Bologna, to Siena, to Assisi, to Florence, they address key themes in the field, such as artistic patronage, sainthood and sanctity, the visual culture of the mendicant orders, devotional practice, and civic religion. Some essays bring fresh approaches to familiar material (Ambrogio Lorenzetti's Saint Nicholas panels, the frescoes in Siena's Palazzo Pubblico, Simone Martini's Holy Family), while others illuminate objects and images that are less well known (the central panel of the Santa Chiara triptych in Trieste, and the statue of Saint Francis in San Francesco in Siena). As a collection they combine to make an important contribution to the study of Early Italian art, seeking thereby to echo the extraordinary contribution of Joanna Cannon's own work to that field.to Florence, they address key themes in the field, such as artistic patronage, sainthood and sanctity, the visual culture of the mendicant orders, devotional practice, and civic religion. Some essays bring fresh approaches to familiar material (Ambrogio Lorenzetti's Saint Nicholas panels, the frescoes in Siena's Palazzo Pubblico, Simone Martini's Holy Family), while others illuminate objects and images that are less well known (the central panel of the Santa Chiara triptych in Trieste, and the statue of Saint Francis in San Francesco in Siena). As a collection they combine to make an important contribution to the study of Early Italian art, seeking thereby to echo the extraordinary contribution of Joanna Cannon's own work to that field.
Treasures of the map terrace in the Uffizi by 
Leonardo da Vinci e la lingua della pittura in Europa (secoli XIV-XVII) : atti del Convegno internazionale di studi (Parigi-Torino, 4-5 aprile e 27-29 novembre 2019) by 
Overshadowed by
This book examines a selection of paintings by Bernardino Luini (ca. 1480/85-1532) that were influenced by Leonardo da Vinci (1452-1519). Comparative analysis shows that Luini, from adopting Leonardo's compositions and motifs, went on to incorporate elements of his style and expression in a group of works dating to the 1520s. These are the focus of the book. In imitating Leonardo, Luini traded complexity for clarity, simplifying his manner and making it accessible to a broad audience undifferentiated by age, gender, or class. The artist's method of popularizing Leonardo, however, led to criticism of his works as merely derivative, but that fails to consider their function as devotional images. Beyond church teachings and practices, little is known about how ordinary viewers looked at religious art in this period. Their responses are not recorded. But Luini's paintings themselves provide clues, like the foregrounding of the figures and their interaction with each other and the beholder, to indicate how they served a devotional purpose. The artist may not have been an intellectual like Leonardo, but the thinking inherent in his works is absolutely coherent and consistent. Their clear organization and unequivocal meaning effectively communicate the religious message he sought to convey. This book revisits the idea that Leonardo da Vinci was the essential inspiration for his younger contemporary Bernardino Luini. Instead of a broad notion of Leonardo's influence, however, the book offers a more complex understanding of the relation between the two artists, one that seeks to account for Luini's much-criticized lack of originality vis-à-vis the older master. In one artistic category in which Leonardo offered few models - devotional images of the Passion of Christ - Andrea Solario, himself influenced by Leonardo, had a decisive impact on Luini. Solario's influence complemented Leonardo's, enabling Luini to set a new standard for depicting a broad range of sacred subjects.
Federico da Montefeltro e Francesco di Giorgio : Urbino, crocevia delle arti by 
Pisanello : il tumulto del mondo by 
Giulio Romano : la forza delle cose by 
"Pictura" in den Niederlanden : ihre Genese und Entwicklung vom 16. bis zur Mitte des 17. Jahrhunderts by 
Imagining Identity in American Equine Art by
This book traces an evolution of equine and equestrian art in the United States over the last two centuries to counter conventional understandings of subjects that are deeply enmeshed in the traditions of elite English and European culture. In focusing on the construction of identity in painting and photography--of Blacks, women, and the animals themselves involved in horseracing, rodeo, and horse show competition--it illuminates the strategic and varying roles visual artists have played in producing cultural understandings of human-animal relationships. As the first book to offer a history of American equine and equestrian imagery, it shrinks the chasm of literature on the subject and illustrates the significance of the genre to the history of American art. This book further connects American equine and equestrian art to historical, theoretical, and philosophical analyses of animals and attests to how the horse endures as a vital, meaningful subject within the art world as well as culture at large. This book will be of interest to scholars in art history, American art, gender studies, race and ethnic studies, and animal studies.
Venus and the Arts of Love in Renaissance Florence by
In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes - her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love in Renaissance Florence offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.
Stigmatics and Visual Culture in Late Medieval and Early Modern Italy by
This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation. Dr Cordelia Warr is Senior Lecturer in Art History, University of Manchester, UK.
Idols and Rivals by
Competition is one of the driving forces of our time - everything can suddenly turn into a challenge or a contest. Art, on the other hand - that is outside the art market-can be seen as a free space in which something genuinely unique emerges. That this construct is a historical exception is revealed by a fresh look at the early modern period: Here, the principle of competition was thought to be decisive for artistic work. What is more, the competitive habitus of imitation, competition and surpassing - imitatio, aemulatio and superatio - was supposed to bring about cultural progress as such. Even Leonardo knew that "good envy" spurs high performance. Hence, some of the most famous works of the Renaissance and Baroque periods emerged from the competitive battles that artists in early modern Europe fought among themselves, as well as with long-dead models from antiquity. This splendid catalogue reveals mutual inspiration and cooperation, but also sheds light on the dark side of competition for prestigious commissions - envy, intrigue, and slander.
Cultivating the Renaissance : a social history of the Medici Tuscan villas by 
Riemenschneider in Situ by
Riemenschneider in Situ presents the newest research on the work of one of the most famous late medieval and early Renaissance sculptors, Tilman Riemenschneider. Moving beyond questions of style, date, and workshop practice, this volume investigates the sculptor's programs across the south German region of Franconia that survive in situ, within the particular contexts for which they were designed and in which they were originally experienced. In shifting the focus from fragmentary pieces in museum collections to extant installations in their original church settings, the volume contributes to a wave of scholarship interested in reanimating medieval artistic ensembles by considering them as complex visual environments. Together, the authors-conservators, museum professionals, and art historians-provide an essential and overdue study of Riemenschneider's best-preserved pieces, while also making an important, collaborative addition to the broader discipline of pre-modern art history.
Johann Gottfried Schadow by
Johann Gottfried Schadow's Princess group has gone down in the annals of art history. As the first statue of two female historical personalities it testifies to the innovation, enormous artistry and productivity of sculpture workshops in the 19th century - a symbol of the important sculpture of German Classicism. In around 1800 Johann Gottfried Schadow (1764-1850) was the most famous artist in Prussia. More than most others he knew how to combine the outstanding position as court sculptor with entrepreneurial success and a steady bourgeois existence, and thereby to cultivate an international network. The artist himself modelled, drew, wrote art-theoretical treatises and was the head of the Berlin Academy, one of the most important art schools of the time. The monograph opens new perspectives onto the brilliant creativity of the great sculptor and his workshop.
Canova by
The first book-length examination of the clay models and creative process of the preeminent neoclassical sculptor Antonio Canova The most celebrated sculptor of the neoclassical age, Antonio Canova (1757-1822) established himself as the preeminent artist of his time with his funerary monuments and meticulously carved marbles on classical themes. Although his idealized and sensual sculptures are widely known, this is the first book devoted entirely to the brilliantly expressive clay models that he made in preparation for his marble sculptures. Only sixty-five of his terracotta models survive today. Extraordinarily modern in their boldness, the models retain the touch of the artist's hand and yield a revelatory glimpse into Canova's imaginative and technical process. The authors, with expertise in art history and conservation, examine Canova's techniques for making terracotta models, including how he used clay to develop full-scale models that his assistants copied in marble, and his practice of gifting his models to friends. Distributed for the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington, DC (June 11-October 9, 2023) Art Institute of Chicago (November 19, 2023-March 18, 2024)
La curiosité à l'œuvre : dessins de la donation Pierre Rosenberg by 
Le trait et l'ombre : dessins français du musée des Beaux-arts d'Orléans by 
In the footsteps of Raphael : drawings from the Royal Library of Turin by 
Bruegel and Beyond by
The Royal Library of Belgium in Brussels houses the largest collection of drawings in the country. Among its highlights are works by leading artists of the Low Countries, including Pieter Bruegel I, Joris Hoefnagel, Hendrick Goltzius, Peter Paul Rubens, Anthony van Dyck, and Jacques Jordaens. As the library's collection has been little studied up to now, it is largely unknown to scholars and the general public. To acquaint a wider audience with these important works of art, this richly illustrated publication brings together for the first time over one hundred master drawings from the Royal Library's vaults. Not only new art-historical insights are presented, but also numerous rediscovered drawings and revised attributions to artists such as Maarten van Heemskerck and Karel van Mander. This carefully researched book, written by thirty specialists in the field, aims to make a significant contribution to our knowledge of the history of Netherlandish drawing from the sixteenth to the eighteenth centuries. Distributed for Hannibal Books
French Suite by
From Manet to Gericault, Daubigny to Corot, an insightful, breathtakingly original exploration of French art and literature. French Suite examines a range of important French painters and two writers, Baudelaire and Flaubert, from the brothers Le Nain in the mid-seventeenth century to Manet, Degas, and the Impressionists in the later nineteenth century. A principal theme of Michael Fried's essays is a fundamental concern of his throughout his career: the relationship between painting and the beholder. Fried's typically vivid and strongly argued essays offer many new readings and unexpected insights, examining both familiar and lesser-known French artistic and literary works.
Peindre en Normandie : aux temps de l'impressionnisme by 
Courbet's Landscapes by
A groundbreaking insight into Gustave Courbet and his bold experiments in landscape painting Between 1862 and 1866 Gustave Courbet embarked on a series of sensuous landscape paintings that would later inspire the likes of Monet, Pissarro, and Cézanne. This series has long been neglected in favor of Courbet's paintings of rural French life. Courbet's Landscapes: The Origins of Modern Painting explores these astonishing paintings, staking a claim for their importance to Courbet's work and later developments in French modernism. Ranging from the grottoes of Courbet's native Franche-Comté to the beaches of Normandy, Paul Galvez follows the artist on his travels as he uses a palette-knife to transform the Romantic landscape of voyage into a direct, visceral confrontation with the material world. The Courbet he discovers is not the celebrated history painter of provincial life, but a committed landscapist whose view of nature aligns him with contemporary developments in geology, history, linguistics, and literature.
Hans Mielich und die gefräßige Zeit : vergessene Bilder der Münchener Spätrenaissance by
Das Buch verortet Hans Mielichs fulminante und teilweise neu entdeckten Gemälde und Zeichnungen in der Kunstgeschichte des 16. Jahrhunderts. Als gefragter Maler seiner Zeit lernt Mielich Tizian in Venedig und die italienischen Manieristen in Rom kennen. Seine gegenüber der Malerei Albrecht Altdorfers, Bartel Behams und Wolf Hubers eigenständige Kunst war äußerst geschätzt und versetzte sowohl anspruchsvolle Auftraggeber, Münchner Herzöge, den süddeutschen Adel als auch das Bürgertum in rauschhafte neue Bildwelten.
Tischbein : Meisterwerke des Hofmalers : Katalog zur Ausstellung : Museum Schloss Fasanerie, 11. Juni bis 9. Oktober 2022 by 
Botticelli and Renaissance Florence : Masterworks from the Uffizi by 
Barbara Longhi of Ravenna : art, grace and piety by 
Alessandro Magnasco (1667-1749) by
The Italian painter Alessandro Magnasco (1667-1749) depicted religious communities as diverse as Jews, Christians, Quakers and Pagan people in his religious pictures. The author examines the sources of inspiration for his pictures, the role of the collectors of the time and which rites and what motivation achieved pictorial worth . For the first time, this volume decodes the "religious pictures" by the Italian painter Alessandro Magnasco (1667-1749) from the transition from the late baroque to the rococo as pictorial arguments for religious discourse. The paintings were dedicated to depicting religious practices of such diverse faith communities as the Jews, Christians - including Quakers - but also the Pagan and popular superstitions. Under the aspects of iconography, pendant formation and contemporary reception, Charlotte Mende examines why certain religious rites achieved pictorial worth. Which sources of inspiration caused Magnasco's idiosyncratic pictorial inventions and how did the collectors of the time deal with them?
Paolo Veneziano's Coronation of the Virgin by
The eighth volume in the Frick Diptych series focuses on a stunning fourteenth-century painting, pairing an essay by Frick deputy director Xavier F. Salomon with a fascinating contribution from contemporary composer Nico Muhly. According to Muhly, The Coronation of the Virgin is "a panel of pure theater and music". Painted in 1358 by the Venetian artist Paolo Veneziano (ca. 1295-1362), the apocryphal story of the moment when the Virgin is crowned Queen of Heaven is depicted here in one of the artist's most thrilling and important works. Paolo presents the Virgin and Christ in sumptuous garments and surrounded by a choir of angels playing portable organs, lutes, trumpets, tambourines, and other instruments. The angels symbolize the harmony of the universe; their instruments are the authentic components of a medieval orchestra, accurately depicted and correctly held and played. The decorative sparkle of the surface -- with its brilliant, expensive colours, patterned textiles, and lavish gold leaf -- reflects the Venetians' love of luxury, a taste that enriches much of 14th- and 15th-century art in Venice.
Rinascimento a Ferrara : Ercole de' Roberti e Lorenzo Costa by 
Titian : dialogues of Nature and Love : the Galleria Borghese encounters the Nymph and Shepherd from Vienna by 
Tiziano : Venere che benda Amore e i dipinti degli ultimi anni by 
Manhattan masters : Dutch paintings from the Frick Collection by 
Augenlust? by
Niederlandische Stillleben sind Meisterwerke der Malerei. Im 17. Jahrhundert entstanden, faszinieren sie mit funkelnden Glasern und feinstem Porzellan, mit exotischen Fruchten, Blumen und Schmetterlingen, aber auch mit alltaglichen Gutern wie Kase und Hering. Das Auge kann lustvoll in diesen Inszenierungen umherschweifen und zahllosen Details nachspuren. Im Zentrum des Buches stehen 14 ausgewahlte Gemalde, deren Geschichten von reich bebilderten Essays in die niederlandische Lebenswelt des 17. Jahrhunderts eingeordnet werden. Dabei zeigt sich, dass die Stillleben nicht nur die Schonheit der Dinge und den Luxus feiern, sondern auch die Schattenseiten des vermeintlich Goldenen Zeitalters widerspiegeln.
Mist and Fog in British and European Painting by
Mist and fog engender fascination and mystery, enticing with their wispy veils and vapourous moods, and they are the stuff of dreams and visions. 'The mists of time' and 'in a fog' are common expressions that substantiate the long association of mist and fog with the passage of time, the vagaries of memory, and feelings of uncertainty. Mist and fog obscure, conceal, and when they dissipate, reveal. Vapourous atmosphere in art and life masks evil and can elicit presentiments of death. It also has been used in art to convey the splendours of the spiritual world and the terrors of the supernatural. The metaphorical meanings that have accrued to mist and fog, encouraged by their indeterminate and transitory nature, and the emotions to which they give rise, are variously evident in the work of major artists and their contemporaries. This book focusses on mist and fog from the late eighteenth to the early twentieth centuries in the places they most proliferated. Examples of literature that employ mist and fog as metaphor and in allegory from antiquity to Joseph Conrad serve to amplify many of the paintings discussed.
Alla ricerca dell'eternità : dipingere sulla pietra e con la pietra a Roma : itinerari by 
Renaissance Secrets by
Engagingly written and profusely illustrated, this book offers readers a close-up "view from the scaffolding" of some of the greatest Renaissance wall paintings at the Vatican. Beginning in the late 1400s, the greatest artists of Renaissance Italy were summoned to Rome, where they decorated the walls and ceilings of the Vatican. Expert restorer Maurizio De Luca spent his forty-year career in the Vatican Museums, including fifteen years as head restorer of the Painting Restoration Laboratory. He personally oversaw some of the most important restorations of the last half century, including wall paintings by Perugino, Botticelli, and others on the walls of the Sistine Chapel; the Pintoricchio wall paintings in the Borgia Apartments; the Raphael Rooms; and the last two frescoes by Michelangelo, in the Pauline Chapel at the Apostolic Palace. In this accessible and copiously illustrated book, De Luca conveys the kind of knowledge that can only be derived from close personal observation. The reader is offered a stunningly intimate perspective that illuminates the distinctive expressive challenges, choices, and techniques of each artist and demonstrates how the conservation process enriches the understanding and interpretation of these iconic works.
Process: Design Drawings from the Rijksmuseum 1500-1900 by
A massive trove of drawings of chairs, clocks, vases and more across four centuries Published in conjunction with an exhibition at the Rijksmuseum, Process displays the museum's extensive collection of previously unseen drawings of artifacts from the 1500s to 1900. The book thoroughly discusses the artifacts--which include vases, chairs, clocks, stoves, sledges and carriages, among many others--investigating their origins and usage, as well as the systems of production behind the objects; inventors, makers and patrons all feature here. The central focus of Process, however, is not the artifacts but the design drawings themselves. The drawings are arranged according to the successive stages of the design process, from the first sketches in pencil to their fully elaborated, colorful presentation. Unlike other publications on this subject, Process privileges the function of the drawings within the design process over their provenance and attribution. This distinct approach was developed after years of research by Reinier Baarsen, senior curator at the Rijksmuseum, who contributes text to the volume.
The Art of Tapestry by
Extensively illustrated, this is the first accessible publication on the history of tapestry in over two decades.Woven with dazzling images from history, mythology and the natural world, and breath-taking in their craftsmanship, tapestries were among the most valuable and high-status works of art available in Europe from the medieval period to the end of the eighteenth century. Over 600 historic examples hang in National Trust properties in England and Wales - the largest collection in the UK.This beautifully illustrated study by tapestry expert Helen Wyld, in association with the National Trust, offers new insights into these works, from the complex themes embedded in their imagery, to long-forgotten practices of sacred significance and ritual use. The range of historical, mythological and pastoral themes that recur across the centuries is explored, while the importance of the 'revival' of tapestry from the late nineteenth century is considered in detail for the first time. Although focussed on the National Trust's collection, this book offers a fresh perspective on the history of tapestry across Europe.Both the tapestry specialist and the keen art-history enthusiast can find a wealth of information here about woven wall hangings and furnishings, including methods of production, purchase and distribution, evolving techniques and technologies, the changing trends of subject matter across time, and how tapestries have been collected, used and displayed in British country houses across the centuries.
Torquato Tasso's Jerusalem Delivered from Carracci to Tiepolo by
Armida reaches out to Rinaldo armed with a long knife. She hates him, she wants to kill him. Cupid restrains her arm, but the left hand of the sorceress already lies on that of the sleeping hero, a touch that leads her to fall in love. The blue and the red divide the scene. Two contrary passions--narrated by Torquato Tasso, depicted by Nicolas Poussin--are depicted across the canvas. Tasso's Jerusalem Delivered is by definition the poem of the affetti, and on this account it drew the undivided attention of painters, musicians, playwriters and choreographers throughout Europe from the moment of its publication in 1581 onward. Going beyond the narrated action, painters in particular focused on the complex dynamics of passion that Tasso's masterpiece conveys in literary images, and through new pictorial devices reconfigured the notion of profane affetti in opposition to the affectum devotionis of the sacred texts. This volume investigates the exchange between the poetic word and the most stimulating works that have interacted with it. Condensed within visual formulas, a variety of themes emerge such as the blurring of the lines between male and female identity, between love and war; the confrontations and exchanges between different cultures through violence, religious conversion, and the assimilation of one another; the modern hero divided between the worldly, affective arena of the court and a locus amoenus where he could be sheltered from the assault of passions. Ultimately, the book examines the political implications of art in relation to court rituals and to all those practices through which power is built and strengthened. Examining the images that permeate poetry and the poetic devices that have found their way into painting, Careri identifies and examines a fundamental moment of reconfiguration in the visual history of passions. Through the paintings of great artists such as Poussin, Tintoretto, Guercino, Tiepolo, and the Carracci, he explores the "affective" revolution at the origin of the contemporary world.
The Power to Name by
This book looks at the pervasive naming of information that libraries undertake as a matter of course through representation of subjects. It examines the 19th century foundations, current standards, and canonical application of internationally used classification (Melvil Dewey and his decimal scheme) and subject headings (Charles Cutter and the Library of Congress Subject Headings). It will be of interest to librarians, information scholars, professionals, and researchers.
A Practical Guide to Library of Congress Subject Headings by
Here's a resource that uses language non-catalogers can understand and provides hands-on, user-friendly training in LCSH. The book offers a brief history of LCSH, discusses basic principles of subject analysis, explains the key principles of LCSH, and details how to choose and apply LCSH subject headings and subheadings.
Diversity, Equity, Accessibility, and Inclusion in Museums by
Diversity, equity, accessibility, and inclusion in all aspects of museums' structure and programming are top issues in the field today - and in the overall arts/culture sector. Much has been written, from various perspectives, over several decades. Yet, a lack of diversity remains and exclusive practices and inequities persist in all types of museums. A go-to resource for readers interested in learning about diversity and inclusion work in the field - past, present and future. This edited collection of the most important essays, speeches, and reports on these topics seeks to facilitate a much-needed intergenerational dialogue that builds on lessons from the past, broadens thinking about the many different facets of this complex work, and ignites inspiration for continuing to correct inequities across museums of all types, sizes, and locations. In this book compiled and edited by Dr. Johnnetta Betch Cole, who has served as both director of the Smithsonian National Museum of African Art and as the president of both historically Black colleges for women in the United States, Spelman College and Bennett College (a distinction she alone holds) and Laura Lott, president and CEO of the American Alliance of Museums, (the first woman to the lead the organization), thought leaders in the museum field present their research, analysis and work to answer some of the most challenge questions facing the museum field. Why do these problems persist? How can a new generation of museum leaders champion change to better represent the communities that museums strive to serve and engage? What can we learn from those who have been observing, experiencing, and writing about these issues?
From Small Wins to Sweeping Change by
Combining practice and guidance, challenges and successes, this book provides a range of frameworks and tools to develop and implement successful DEAI committees and their initiatives. This timely book offers concrete tips and models for mitigating bias, confronting racism, and advocating for organizational change at any cultural institution.
Museums As Agents of Change by
Museums everywhere have the potential to serve as agents of change-bringing people together, contributing to local communities, and changing people's lives. So how can we, as individuals, radically expand the work of museums to live up to this potential? How can we more fiercely recognize the meaningful work that museums are doing to enact change around the relevant issues in our communities? How can we work together to build a stronger culture of equity and care within museums ? Questions like these are increasingly vital for all museum professionals to consider, no matter what your role is within your institution. They are also important questions for all of us to be thinking about more deeply as citizens and community members. This book is about the work we need to do to become changemakers and demand that that our museums take action toward positive social change and bring people together into a more just, equitable, compassionate, and connected society. It is a journey toward tapping the energies within all of us to make change happen and proactively shape a new future.
Léon Bonvin (1834-1866) by
This book shines a light on the neglected work of French artist Léon Bonvin. This beautiful publication presents a catalog raisonné of Léon Bonvin's work published in both French and English. Introduced by several illuminating essays and accompanying an exhibition at the Fondation Custodia, this book enriches our understanding of the previously overlooked, yet immensely talented, French artist. Léon Bonvin never enjoyed the same notoriety as his half-brother, Francois (1817-87), who was a well-regarded realist painter in the nineteenth century. The few remaining sources characterize him as misunderstood and ill-fated. As he was struggling to make a living, Bonvin took over his father's inn in Vaugirard, while continuing to paint watercolors. His work, depicting wildflowers, still lifes, and views of the still rural and working-class plain exhibit a deep sincerity. Presenting new research on the life and art of Bonvin, this book documents all known works by the artist, including many drawings that have never been published before. Together, the essays and comprehensive presentation of his works provide an essential foundation for building an appreciation of Bonvin's magnificent oeuvre.
So You Want to Work in a Museum? by
A One-Stop Guide to Museum Careers People who love art, are fascinated by archaeology, or are history buffs may have considered the idea of working in a museum. But experience as a museum visitor reveals only the public-facing side of the museum, and not its complex, dynamic internal structure. So You Want to Work in A Museum? helps to demystify museums as institutions and to prepare prospective museum staff to explore the field further. After reading this book, readers will be able to: oUnderstand how non-profit museums are governed, funded, and staffed, and how they define and meet their missions. oExplore museum divisions and departments and specific roles within them-not just prominent roles like directors and curators, but also less visible ones like registrars, preparators, development officers, conservators, and more. oConsider the contemporary function of museums, and how yesterday's cabinets of curiosity have evolved into today's community catalysts. Examine how the contemporary function of museums has affected the types of positions available and the work museum staff do on a daily basis. oLook at the skills required for different types of positions, and how readers aspiring to work in those positions can best prepare themselves to land their dream jobs and be successful in them. oUnderstand the benefits and potential challenges of working in a museum, and oAccess a wealth of resources that will inspire further study of the field, and outline next steps to pursue a museum career.
Museum Accessibility by Design by
What does museum accessibility mean today? How can it generate impact in museums and in society itself? Where should we begin to take concrete action? Museum Accessibility by Design: A Systemic Approach to Organizational Change guides readers through the process of designing a museum accessibility strategy. Real world examples, tools, and resources foster implementation. This book offers a comprehensive exploration of museum accessibility, with an up-to-date and critical survey of the discipline; a detailed, step-by-step guide on how to set up a rigorous and effective process that promotes accessibility throughout the museum institution; tools and suggestions for rethinking accessibility and usability for a diverse range of museum visitors; international case studies and best practices; and, a full accessibility training course with activities and exercises aimed at fostering an accessible mindset within any institution. An engaging and accessible resource for university students, museum professionals and researchers, this book speaks to museum professionals of all types, from those just starting out to seasoned experts looking for a comprehensive, multi-faceted look at museum accessibility.
Change Is Required by
Change is Required: Preparing for the Post-Pandemic Museum is a book about the future of American museums. Like other institutions, museums and zoos, historic sites, gardens, and arboreta, were powerfully affected by the nested crises of the pandemic. These unprecedented crises challenged American museums. Adapting to novel circumstances and uncertainty became the order of the day; improvisation in policy and practice the new norm. Amidst upheavals and disruptions, a number of American museums have charted new directions for themselves and their communities. Many museums have taken a decisive turn to digital programming. Others have taken a turn toward community, developing new kinds of collaborations with their neighbors and local audiences. Still others have moved issues of equity and justice-internally and in the world-to the center of their institutional concerns. In every part of the country-and in every type of museum--museum workers are challenging old assumptions, conventional narratives, and customary practices as they look to the future. In Change Is Required, a unique array of 50 museum professionals--representing different disciplines, positions, and experiences--share their thinking about assessing needs and possibilities, managing people and resources, and building productive new relationships with neighbors, communities, and partner organizations. These authors argue that change is necessary--inside and beyond the museum. It is futile and unproductive to default to the old "normal." To achieve greater relevance, impact, equity, and inclusiveness, museums need to reconsider their leadership models, organizational culture, internal structures, and community collaborations Bristling with personal passion, informed by experience, and focused on the future, the essays in this volume convey the urgency to rethink traditional museum practice, offering visionary-yet practical-routes to future museum success in a volatile, complex, and ambiguous world. In its depth and range, this book constitutes an invitation to join in the growing, lively discourse about possible futures for museums in America. The invitation extends not only to museum professionals, but to all those interested in cultural affairs and institutions.
Museum Metamorphosis by
In Museum Metamorphosis, over forty cultural innovators and changemakers in contemporary art share strategies for building sociocultural relevancy and responsiveness in museums. Representing diverse perspectives from across the entire arts and culture ecosystem, the book offers tools to reshape museums into collaborative platforms for collective impact and social change. Part One features seven roundtables in which practitioners discuss best practices for dismantling barriers to entry and building reciprocal, sustained engagement with diverse constituencies. Part Two documents four case studies in structured collaboration, prompting museums to invest in both hyperlocal relationships and cross-sector partnerships. And Part Three features four interviews with thought leaders who discuss how to shift equity from a measure of compliance to a vital daily practice of organizational accountability and sustainability. Compiled during a moment of heightened social action, cultural transformation, and institutional critique, Museum Metamorphosis considers and responds to the following prompts: how will museums learn to embrace real-time change and adapt to meet the evolving needs of a rapidly shifting sociopolitical landscape? How can this metamorphosis open new pathways for engagement and encourage museums to meet more audiences where they are? And, how might reconstituting the essential DNA of the museum recalibrate the power dynamics between communities and institutions, producing a sustainable model for engaged cultural citizenship? In addressing these questions, Museum Metamorphosis looks to innovation transpiring beyond the museum echo chamber and lays bare both the opportunities and challenges of adopting new ways of working. It dares readers to identify their respective position within the social change ecosystem, and empowers them with tools to reorient their work towards cultural equity and social justice.
Designing for Empathy by
As museums are currently shaping their tools for fostering empathy as an intentional outcome of museum experiences, the idea of empathy-building is reshaping them as socially relevant institutions that increasingly value diversity, accessibility, and equality. This is a non-linear, multi-layered, and multi-dimensional transformation that requires multidisciplinary, cross-industry, and cross-sector alliances for its sustainability. The potential of this collective transformation effort includes the invention of unconventional, evidence-based, and sustainable solutions that can be scaled up beyond the walls of traditional museums to all kinds of informal learning platforms to help eliminate the empathy-deficit in our world. Designing for Empathy expands our understanding of empathy and its potential for fostering compassionate worldviews and actions through a multidisciplinary exploration in three parts: "The Object of Our Empathy" explores how we define and perceive the "Other;" "The Alchemy of Empathy" introduces thirteen design elements of empathy that might lead to transformative learning experiences; and "The Scope and the Spectrum of Empathy" highlights the importance of positioning empathy as a cross-industrial shared value for the benefit of people and the planet. Designing for Empathy will inspire and empower those who are interested in intentionally designing for empathy to cultivate compassionate worldviews and actions that celebrate and preserve the oneness of all people, the environment, and our planet.
Maîtres français, XIXe-XXe siècles : exposition by Maîtres français, XIXe-XXe siècles : exposition by Maîtres français, XIXe - XXe siècles : exposition, de Delacroix à Chagall by Maîtres français, XIXe-XXe siècles : exposition by Maîtres français, XIXe-XXe siècles : 24 avril-10 juillet 2002 by Maîtres français, XIXe-XXe siècles : 3 mai-5 juillet 2000 by Delacroix à Braque : maîtres français, XIXe-XXe siècles : 25 avril-11 juillet 2001 by 
Artists' and Artisans' Collections in Early Modern Antwerp by
Paintings, drawings, prints, maps, jewels, gems, statuettes, medals, exotica, antiquities, dried animals, shells, corals, and scientific instruments. All these objects and more were on display in collectors' cabinets in Early Modern Antwerp. This book tells the story of the collections of artists and artisans, who stood at the centre of and shaped the city's cultural life. In their double roles as maker-collectors, they put a strong mark on the culture of collecting. The culture of collecting was inextricably linked to changing conceptions of the material world, which went hand in hand with the emergence of new pictorial genres and the increasing dominance of forms of knowledge based on objects and material evidence. This book traces the important role of Antwerp artists and artisans in this culture of art and knowledge. It is a story about friendship and networks; about new forms of connoisseurship; and about innovation and appreciation.
Radical Cataloging by
This collection of critical and scholarly essays addresses the state of cataloging in the world of librarianship. The contributors, including Sanford Berman, Thomas Mann, and numerous front-line library workers, address topics ranging from criticisms of the state of the profession and traditional Library of Congress cataloging to methods of making cataloging more inclusive and helpful to library users. Other essay topics include historical overviews of cataloging practices and the literature they generate, first-person discussions of library workers' experiences with cataloging or metadata work, and the implications behind what materials get cataloged, who catalogs them, and how. Several essays provide a critical overview of innovative cataloging practices and the ways that such practices have been successfully integrated in many of the nation's leading libraries. Instructors considering this book for use in a course may request an examination copy here.
A Practical Guide to Library of Congress Classification by
A Practical Guide to Library of Congress Classification is a hands-on introduction to LC Classification. The book examines each part of the LCC call number and how it is assembled and guides the reader through each step of finding and constructing LCC class numbers in Classification Web (the primary resource used to access LCC). Chapter coverage is complete: 1. Introduction 2. Library of Congress Classification in a Nutshell 3. Breaking Down the Library of Congress Call Number 4. Dates 5. Cutters 6. LCC in Classification Web 7. Basic LCC Call Number Building 8. Advanced Call Number Building 9. Classifying Fiction in LCC 10. Finding and using LCC Resources Exercises at the end of most chapters give readers immediate practice with what they just learned. Answers to the exercises are provided at the end of the book. By the end of the book readers will be able to build an LCC call number on their own.
A Superb Baroque by
The legendary splendor of Genoese baroque art Genoa completed its transformation from a faded maritime power into a thriving banking center for Europe in the seventeenth century. The wealth accumulated by its leading families spurred investment in the visual arts on an enormous scale. This volume explores how artists both foreign and native created a singularly rich and extravagant expression of the baroque in works of extraordinary variety, sumptuousness, and exuberance. This art, however, has remained largely hidden behind the facades of the city's palaces, with few works, apart from those by the school's great expatriates, found beyond its borders. As a result, the Genoese baroque has been insufficiently considered or appreciated. Lavishly illustrated, A Superb Baroque is comprehensive, encompassing all the major media and participants. Presented are some 140 select works by the celebrated foreigners drawn to the city and its flourishing environment--from Peter Paul Rubens, Anthony van Dyck, and Giulio Cesare Procaccini to Pierre Puget, Marcantonio Franceschini, and Francesco Solimena; by the major Genoese masters active for much of their careers in other settings--Bernardo Strozzi, Giovanni Benedetto Castiglione, Filippo Parodi, and Alessandro Magnasco; and above all by the brilliantly synthetic but unfamiliar masters who worked primarily in Genoa itself--Gioacchino Assereto, Valerio Castello, Domenico Piola, and Gregorio De Ferrari. Offering three levels of exploration--essays that frame and interpret, section introductions that characterize principal currents and stages, and texts that elucidate individual works--this volume is by far the most extensive study of the Genoese baroque in the English language. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule Scuderie del Quirinale, Rome March 4-June 19, 2022
French Gothic Ivories by
This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.
The Mineral and the Visual by
Opulent jeweled objects ranked among the most highly valued works of art in the European Middle Ages. At the same time, precious stones prompted sophisticated reflections on the power of nature and the experience of mineralized beings. Beyond a visual regime that put a premium on brilliant materiality, how can we account for the ubiquity of gems in medieval thought? In The Mineral and the Visual, art historian Brigitte Buettner examines the social roles, cultural meanings, and active agency of precious stones in secular medieval art. Exploring the layered roles played by gems in aesthetic, ideological, intellectual, and economic practices, Buettner focuses on three significant categories of art: the jeweled crown, the pictorialized lapidary, and the illustrated travel account. The global gem trade brought coveted jewels from the Indies to goldsmiths' workshops in Paris, fashionable bodies in London, and the crowns of kings across Europe, and Buettner shows that Europe's literal and metaphorical enrichment was predicated on the importation of gems and ideas from Byzantium, the Islamic world, Persia, and India. Original, transhistorical, and cross-disciplinary, The Mineral and the Visual engages important methodological questions about the work of culture in its material dimension. It will be especially useful to scholars and students interested in medieval art history, material culture, and medieval history.
The Eternal Feast by
An overview of Chinese culture, particularly visions of life and the afterlife, told through feast imagery from three historically transformative dynasties Feasting was an important social and ritual activity in China beginning in the Bronze Age, and cuisine retains a strong cultural significance to this day. This book focuses on feasting in the 10th through 14th centuries, examining Chinese paintings of feasts from the Song (960-1279), Liao (907-1125), and Yuan (1279-1368) dynasties. Feast images, more so than works from any other painting genre, depict scenes from the past, the present, and the afterlife alike. More specifically, as author Zoe S. Kwok explains in the book's insightful text, they portray a continuum between life and what lies beyond it; this volume is the first to make such a connection. Full-color plates highlight a rare group of paintings as well as complementary ceramic, metal, stone, and textile objects, and the nearly fifty individual catalogue entries touch on diverse topics--not only food and drink but dance, music, costume, burial practices, artistic patronage, and more.
Chinese Art and Dynastic Time by
A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art history Throughout Chinese history, dynastic time--the organization of history through the lens of successive dynasties--has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history. Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history. Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
The Enlightened Mind: Education in the Long Eighteenth Century by
The rise of Enlightenment philosophical and scientific thought during the long eighteenth century in Europe and North America (c. 1688-1815) sparked artistic and political revolutions, reframed social, gender, and race relations, reshaped attitudes toward children and animals, and reconceptualized womanhood, marriage, and family life. The meaning of "education" at this time was wide-ranging and access to it was divided along lines of gender, class, and race. Learning happened in diverse environments under the tutelage of various teachers, ranging from bourgeois mothers at home, to Spanish clergy, to nature itself.The contributors to this cross-disciplinary volume weave together methods in art history, gender studies, and literary analysis to reexamine "education" in different contexts during the Enlightenment era. They explore the implications of redesigned curricula, educational categorizations and spaces, pedagogical aids and games, the role of religion, and new prospects for visual artists, parents, children, and society at large. Collectively, the authors demonstrate how new learning opportunities transformed familial structures and the socio-political conditions of urban centers in France, Britain, the United States, and Spain. Expanded approaches to education also established new artistic practices and redefined women's roles in the arts. This volume offers groundbreaking perspectives on education that will appeal to beginning and seasoned humanities scholars alike.
An illustrated monograph of Chartres Cathedral ; (being an extract of a work crowned by the Academie des Beaux-Arts) by 
Conchophilia by
A captivating historical look at the cultural and artistic significance of shells in early modern Europe Among nature's most artful creations, shells have long inspired the curiosity and passion of artisans, artists, collectors, and thinkers. Conchophilia delves into the intimate relationship between shells and people, offering an unprecedented account of the early modern era, when the influx of exotic shells to Europe fueled their study and representation as never before. From elaborate nautilus cups and shell-encrusted grottoes to delicate miniatures, this richly illustrated book reveals how the love of shells intersected not only with the rise of natural history and global trade but also with philosophical inquiry, issues of race and gender, and the ascent of art-historical connoisseurship. Shells circulated at the nexus of commerce and intellectual pursuit, suggesting new ways of thinking about relationships between Europe and the rest of the world. The authors focus on northern Europe, where the interest and trade in shells had its greatest impact on the visual arts. They consider how shells were perceived as exotic objects, the role of shells in courtly collections, their place in still-life tableaus, and the connections between their forms and those of the human body. They examine how artists gilded, carved, etched, and inked shells to evoke the permeable boundary between art and nature. These interactions with shells shaped the ways that early modern individuals perceived their relation to the natural world, and their endeavors in art and the acquisition of knowledge. Spanning painting and print to architecture and the decorative arts, Conchophilia uncovers the fascinating ways that shells were circulated, depicted, collected, and valued during a time of remarkable global change.
Godefridus Schalcken by
Godefridus Schalcken: A Late 17th-century Dutch Painter in Pursuit of Fame and Fortune is the first book in English dedicated to the entire artistic output of seventeenth-century Dutch artist Godefridus Schalcken (1643-1706). It examines the artist's paintings and career trajectory against the background of his ceaseless pursuit of fame and fortune. Combining a comprehensive analysis of Schalcken's artistic development and style with our increasing biographical knowledge, it provides an authoritative overview of Schalcken's ample production as an artist. It also integrates his art into the circumstances of his life in relation to his ambitious career aspirations, exploring how economic conditions, a concomitantly oversaturated art market, talent and ambition, demographics, and even sheer luck all played a role in Schalcken's great professional success. Since Schalcken's art, like that of all Dutch painters, provides a plethora of information about seventeenth-century culture--its predilections, its prejudices, indeed, its very mind-set--the book inevitably links his work to the broader socio-cultural contexts in which it was created.
Byzantine Intersectionality by
A fascinating history of marginalized identities in the medieval world While the term "intersectionality" was coined in 1989, the existence of marginalized identities extends back over millennia. Byzantine Intersectionality reveals the fascinating, little-examined conversations in medieval thought and visual culture around sexual and reproductive consent, bullying and slut-shaming, homosocial and homoerotic relationships, trans and nonbinary gender identities, and the depiction of racialized minorities. Roland Betancourt explores these issues in the context of the Byzantine Empire, using sources from late antiquity and early Christianity up to the early modern period. Highlighting nuanced and strikingly modern approaches by medieval writers, philosophers, theologians, and doctors, Betancourt offers a new history of gender, sexuality, and race. Betancourt weaves together art, literature, and an impressive array of texts to investigate depictions of sexual consent in images of the Virgin Mary, tactics of sexual shaming in the story of Empress Theodora, narratives of transgender monks, portrayals of same-gender desire in images of the Doubting Thomas, and stereotypes of gender and ethnicity in representations of the Ethiopian Eunuch. He also gathers evidence from medical manuals detailing everything from surgical practices for late terminations of pregnancy to save a mother's life to a host of procedures used to affirm a person's gender. Showing how understandings of gender, sexuality, and race have long been enmeshed, Byzantine Intersectionality offers a groundbreaking look at the culture of the medieval world.
Francisco de Goya and the Art of Critique by
An innovative study of Goya's unprecedented elaboration of the critical function of the work of art Francisco de Goya and the Art of Critique probes the relationship between the enormous, extraordinary, and sometimes baffling body of Goya's work and the interconnected issues of modernity, Enlightenment, and critique. Taking exception to conventional views that rely mainly on Goya's darkest images to establish his relevance for modernity, Cascardi argues that the entirety of Goya's work is engaged in a thoroughgoing critique of the modern social and historical worlds, of which it nonetheless remains an integral part. The book reckons with the apparent gulf assumed to divide the Disasters of War and the so-called Black Paintings from Goya's scenes of bourgeois life or from the well-mannered portraits of aristocrats, military men, and intellectuals. It shows how these apparent contradictions offer us a gateway into Goya's critical practice vis-à-vis a European modernity typically associated with the Enlightenment values dominant in France, England, and Germany. In demonstrating Goya's commitment to the project of critique, Cascardi provides an alternative to established readings of Goya's work, which generally acknowledge the explicit social criticism evident in works such as the Caprichos but which have little to say about those works that do not openly take up social or political themes. In Francisco de Goya and the Art of Critique, Cascardi shows how Goya was consistently engaged in a critical response to--and not just a representation of--the many different factors that are often invoked to explain his work, including history, politics, popular culture, religion, and the history of art itself.
Camille Claudel : Persée et la Gorgone : 1898-1905 by 
Staging the Table in Europe by
A first of its kind exploration of early modern European culinary history. Staging the Table in Europe represents the first book-length study of sixteenth- and seventeenth-century illustrated handbooks for cooking and dining that provided instruction for nearly every element of the dining experience, from expertly carving meats and fruits to folding napkins into animal forms, performing tableside magic tricks, and creating tablescapes for courtly banquets. Deborah L. Krohn opens a window into a world of culinary spectacle and sheds light on what became a pan-European culture of elaborate performance surrounding the preparation and presentation of food. Krohn shows that the rise of instructional manuals followed the decline of formalized, in-person modes of craft education, such as guilds and familial instruction. More broadly, she demonstrates how these manuals illuminate the material and social worlds of their readers. Beautifully illustrated, Staging the Table in Europe reveals the rich material culture that accompanied lavish banquets and state events as well as everyday dining, enabling readers to imagine the tastes, smells, and sights of Europe's early modern culinary world.
Les Italiens à Paris : de Boldini à Severini (1870-1930) by 
The origins and developments of Jacopo Bassano's biblical-pastoral painting by Beyond Elsheimer / Jakob Ernst Thomann von Hagelstein : a German master rediscovered : from prodigious child painter to imperial commissary by 
Between Spain and Italy : a marble Saint Sebastian by Diego de Siloe by 
Fabriquer le regard : marchands, réseaux et objets d'art africains à l'aube du XXe siècle by 
Vigilantia : a selection from my most recent acquisitions = een keuze uit mijn nieuwste aanwinsten by In principio : a selection from my most recent acquisitions = een keuze uit mijn nieuwste aanwinsten. by Caravaggio : still life with fruit on a stone ledge by 
Giacomo Balla : ricostruzione futurista dell'universo by 
Treasures of the Al Thani Collection at the Hôtel de la Marine
The Varnish and the Glaze by
A new history of the techniques, materials, and aesthetic ambitions that gave rise to the radiant verisimilitude of Jan van Eyck's oil paintings on panel. Panel painters in both the middle ages and the fifteenth century created works that evoke the luster of precious stones, the sheen of polished gold and silver, and the colorful radiance of stained glass. Yet their approaches to rendering these materials were markedly different. Marjolijn Bol explores some of the reasons behind this radical transformation by telling the history of the two oil painting techniques used to depict everything that glistens and glows--varnish and glaze. For more than a century after his death, the fifteenth-century painter Jan van Eyck was widely credited with inventing varnish and oil paint, on account of his unique visual realism. Once this was revealed to be a myth, the verisimilitude of his work was attributed instead to a new translucent painting technique: the glaze. Today, most theories about how Van Eyck achieved this realism revolve around the idea that he was the first to discover or refine the glazing technique. Bol, however, argues that, rather than being a fifteenth-century refinement, varnishing and glazing began centuries before. Drawing from an extensive body of recipes, Bol pieces together how varnishes and glazes were first developed as part of the medieval art of material mimesis. Artisans embellished metalwork and wood with varnishes and glazes to imitate gold and gems; infused rock crystal with oil, resin, and colorants to imitate more precious minerals; and oiled parchment to transform it into the appearance of green glass. Likewise, medieval panel painters used varnishes and glazes to create the look of enamel, silk, and more. The explorations of materials and their optical properties by these artists stimulated natural philosophers to come up with theories about transparent and translucent materials produced by the earth. Natural historians, influenced by medieval artists' understanding of refraction and reflection, developed theories about gems, their creation, and their optical qualities.
Ilya Répine, 1844-1930 : peindre l'âme russe
The Ugly Duchess by
Quinten Massys' An Old Woman ('The Ugly Duchess') is one of the Renaissance's most famous faces. In a fresh review of the iconic image, this book unveils the painting's original context: its status as a pioneering work of satirical art, its debt to Leonardo da Vinci's grotesque drawings, and what it tells us about the period's complex attitudes towards women, age and normative beauty. The painting and its partner, An Old Man, are parodic portraits that mock the supposed lust and vanity of older women. Yet a closer look also reveals a figure defiantly flouting conventions and a painter subverting artistic expectations. The publication traces the eventful afterlife and enduring power of this seminal image: how she gained her nickname 'The Ugly Duchess' and inspired John Tenniel's much-loved illustrations of Lewis Carroll's Alice's Adventures in Wonderland (1865), capturing the imagination of generations of readers. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: National Gallery, London, 16 March-11 June 2023
Johannes Vermeer by
The Girl Reading a Letter at an Open Window by Johannes Vermeer is one of the most famous works of seventeenth-century Dutch art. Preserved at the Gemaldegalerie Alte Meister in Dresden, the painting has been restored, in an elaborate process lasting from 2017 to 2021. The removal of a large section of overpainting dating from a later period has profoundly altered the work's appearance and revealed the original composition. To showcase the discovery, the Dresden Gemaldegalerie is now presenting the Girl Reading a Letter along with other masterpieces by Vermeer and a selection of exceptional Dutch genre paintings that reveal parallels and reciprocities between the art of Vermeer and that of his peers. This catalogue brings together texts by renowned scholars as they explore not only the restoration of this pivotal work but also fundamental questions on the visual vernacular and essence of Vermeer's painting, his optical realism, his iconography of love, and the lived realities of women in the Dutch Golden Age.
Hilma Af Klint and Piet Mondrian by
An exploration of the powerful work of two groundbreaking modern artists. For the first time, the complex, symbiotic ecologies that sustained the practices of two of the 20th century's greatest painters are revealed. With a shared rootedness in the natural world and its wondrous life forms, the work of Hilma af Klint and Piet Mondrian celebrates the numinous spiritual power of nature and how this gives both art and life meaning. Including works never before seen in the UK, this publication will both elucidate and invigorate our understanding of two groundbreaking artists, and it will be sure to get synapses firing.
Lavinia Fontana : trailblazer, rule breaker by 
Hokusai by
Shortlisted in the Exhibition Catalogues category in the British Book Design and Production Awards 2022Katsushika Hokusai (1760-1849) is considered by many to be Japan's greatest artist. During his seventy-year career, he produced a considerable oeuvre of some 3,000 color prints, illustrations for over 200 books, hundreds of drawings, and over 1,000 paintings. This exciting collection of 103 exquisite small drawings were made for an unpublished book called The Great Picture Book of Everything - featuring wide-ranging subjects from depictions of religious, mythological, historical, and literary figures to animals, birds, flowers, and other natural phenomena, as well as landscapes. They are dominated by subjects that relate to ancient China and India, also Southeast and Central Asia. Many subjects found in the collection are not found in previous Hokusai works, including fascinating imaginings of the origin of human culture in ancient China.This beautifully produced book draws on the latest research, illustrating the complete set of drawings, published for the first time.
Sublime Ideas by
A beautifully rendered book that is the most important study of Piranesi's drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi (1720-78) explained that he left his native Venice because no patrons were willing to support "the sublimity of [his] ideas." Residing in Rome, he became internationally famous as a printmaker and designer, among other numerous pursuits. While Piranesi's notoriety stems from his etchings, he was also an accomplished draftsman who first developed much of his work in drawings. Sublime Ideas is the most comprehensive, updated study of Piranesi's drawings with over two hundred illustrations offering insight into his life and creative endeavors. Coinciding with the Morgan's Spring 2023 exhibition, Sublime Ideas diligently surveys the artist's enduring work as an artistic force.
Ingres avant Ingres : dessiner pour peindre
Pleurants : alabaster mourners for the tomb monument of Jean de Berry (1340-1416) by 
Roman Imperial Portrait Practice in the Second Century AD by
It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All ofthis, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it.Through systematic case studies of Faustina the Younger's and Marcus Aurelius' portraits on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult, much-discussed subject forward decisively. The newevidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of 'repeated' imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marbleworkshops.
The Allure of Glazed Terracotta in Renaissance Italy by
This book explores the role of glazed terracotta sculpture in Renaissance Italy, from c. 1450 to the mid-1530s. In its brightness and intense colour glazed terracotta strongly attracted the viewer's gaze. Its pure and radiant surfaces also had the power to raise the mind and soul of the faithful to contemplation of the divine. The quasi-magical process of firing earthenware coated with tin-based paste, promoted initially by imports from the East, was seized upon by Luca della Robbia, who realised that glazed terracotta was the ideal vehicle for the numinous. He began to create sculptures in the medium in the 1430s, and continued to produce them for the rest of his life. After Luca's death, his nephew, Andrea della Robbia, inherited his workshop in Florence and continued to develop the medium, together with his sons. The book considers some of the large-scale altarpieces created by the Della Robbia family in parallel with a number of small-scale figures in glazed terracotta, mostly made by unidentified sculptors. The captivating illustrations integrate these two categories of glazed terracotta sculpture into the history of Italian Renaissance art. By focusing on a specific artistic medium which stimulated piety in both ecclesiastical and domestic contexts, this book offers new ways of thinking about the religious art of the Italian Renaissance. The links it establishes between lay devotion and the creation of religious images in glazed terracotta invite reassessment of habitual distinctions between private and public art.
Fakes : da Alceo Dossena ai falsi Modigliani by 
Busshi Kaikei no kenkyū by 
Donatello and Berlin : research, memories and rediscoveries by 
Io, Canova : genio europeo by 
Antoine Coysevox (1640-1720) : le sculpteur du Grand Siècle by 
Pioneers of the Global Art Market by
By the turn of the 20th century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city's galleries capitalized on foreign collectors' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the world--from Cassatt to Picasso--the contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe.Pioneers of the Global Art Market assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records. It caters to an amplified curiosity concerning the emergence and workings of our unprecedented contemporary-centric and global art market. This anthology fills a significant gap in the expanding field of art market studies by addressing how, initially, contemporary art, which is now known as historical modernism, made its way into collections: who validated what by promoting and selling it, where, and how. It includes unpublished material, concrete examples, bibliographical and archival references, and appeals to students, academics, curators, educators, dealers, collectors, artists and art lovers alike. It celebrates the modern art dealer as transnational impresario, the global reach of the modern-art market, and the impact of traders on the history of collecting, and ultimately on the history of art.
Close Up by
The portrait offers the possibility of observation and introspection, and is at the same time one of the most private and representative artistic genres. But what distinguishes the specifically female gaze? On the occasion of the major fall exhibition 2021 at Fondation Beyeler, this catalog brings together nine women artists from Europe and America from the beginning of modernism to the present day, whose works represent an outstanding contribution to the history of the portrait. The individual view of the artists on themselves and on their surroundings in the course of time is expressed. In the catalog, renowned authors explore the individual artists and their fascinating ways of reflecting on themselves and on others. The featured artists are Mary Cassatt, Marlene Dumas, Frida Kahlo, Lotte Laserstein, Paula Modersohn-Becker, Berthe Morisot, Alice Neel, Elizabeth Peyton, and Cindy Sherman.
Segni sacri : i cento anni della Scuola Beato Angelico by 
Otro Renacimiento : artistas españoles en Nápoles a comienzo del Cinquecento by 
Eterno Boldini / a cura di Francesca Dini.
Il giovane Boccioni / a cura di Virginia Baradel ; redazione catalogo: Tommaso Carletti, Chiara Traversaro.
La forma della meraviglia : capolavori a Genova (1600-1750) by 
Claude Gillot by
The first English-language volume detailing the life and works of artist Claude Gillot as exhibited by the Morgan Library & Museum. The history of eighteenth-century French art is dominated by great names, but Paris's artistic scene at the dawn of the century was diverse, including creatives who forged careers outside of the Royal Academy. Among them was Claude Gillot (1673-1722). Author Jennifer Tonkovich chronicles Gillot's life, devoting six chapters to distinct aspects of his oeuvre. These intimate dissections span from his start as the son of a decorative painter to his arrival in Paris, culminating in one of the final projects of his career: designing costumes for the last royal ballet. Exploring the inventive, renegade work of this designer, painter, and illustrator, Tonkovich skillfully contextualizes Gillot's enduring impact on Paris's artistic and intellectual landscape.
Tudor Liveliness by
A groundbreaking approach to the problem of realism in Tudor art In Tudor and Jacobean England, visual art was often termed "lively." This word was used to describe the full range of visual and material culture--from portraits to funeral monuments, book illustrations to tapestry. To a modern viewer, this claim seems perplexing: what could "liveliness" have meant in a culture with seemingly little appreciation for illusionistic naturalism? And in a period supposedly characterised by fear of idolatry, how could "liveliness" have been a good thing? In this wide-ranging and innovative book, Christina Faraday excavates a uniquely Tudor model of vividness: one grounded in rhetorical techniques for creating powerful mental images for audiences. By drawing parallels with the dominant communicative framework of the day, Tudor Liveliness sheds new light on a lost mode of Tudor art criticism and appreciation, revealing how objects across a vast range of genres and contexts were taking part in the same intellectual and aesthetic conversations. By resurrecting a lost model for art theory, Faraday re-enlivens the vivid visual and material culture of Tudor and Jacobean England, recovering its original power to move, impress and delight. Distributed for the Paul Mellon Centre for Studies in British Art
How, When, and Why Modern Art Came to New York by
Marius de Zayas (1880-1961), a Mexican artist and writer whose witty caricatures of New York's theater, dance, and social elite brought him to the attention of Alfred Stieglitz and his circle at "291," was among the most dedicated and effective propagandists of modern art during the early years of this century. How, When, and Why Modern Art Came to New York, originally written in the late 1940s, is a fascinating chronicle assembled from de Zayas's personal archive of photographs and from newspaper reviews of the exhibitions he discusses, beginning with those held at the Stieglitz gallery and including important shows mounted in his own galleries. An appendix added by the editor provides detailed information on the various exhibitions. Additional appendixes contain transcriptions of the de Zayas and Stieglitz correspondence, as well as an account of de Zayas's unique relationship with Picasso, a Spaniard with whom he felt a special kinship and whose work he would be among the first in America to promote and defend.
Visions of ancient Egypt by 
The Fascination of Egypt by
Ancient Egyptian culture continues to exert an unbroken fascination to this day. The appeal of these artefacts lies, among other things, in their great antiquity and good state of preservation, in their vibrant colours, the formal clarity and distinctiveness of their iconography, as well as the monumental impact of even the smallest objects. Egyptian works have been collected in Dresden ever since the early eighteenth century, when the foundations were laid for what is now a remarkable collection including, for example, the Dresden Book of the Dead papyrus, the famous mummies from Saqqara, and the remarkable temple reliefs with representations of the Sed Festival. This book explores the history of the collection and of Egyptomania in Saxony during the Baroque Period, as well as elucidating the Ancient Egyptian pantheon and the concept of the afterlife as reflected in the Dresden Egyptian collection. The informative and lavishly illustrated catalogue section presents around 170 selected works. It not only offers a scholarly overview of the collection, but also sheds light on the royal cult of the gods, private religious practice, Pharaonic ideology, as well as the Ancient Egyptian cult of the dead and the afterlife.
The Story of Art Without Men by
How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway? Guided by Katy Hessel, art historian and founder of @thegreatwomenartists, discover the glittering paintings by Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century United States and the artist who really invented the "readymade." Explore the Dutch Golden Age, the astonishing work of postwar artists in Latin America, and the women defining art in the 2020s. Have your sense of art history overturned and your eyes opened to many artforms often ignored or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan, this is the history of art as it's never been told before.
Look Close, Think Far by
A selection of nearly three hundred outstanding works from the Ackland Art Museum's collection, with accompanying commentaries. This richly illustrated volume introduces one of the most distinguished public university art museums in the United States: Ackland Art Museum at the University of North Carolina at Chapel Hill. Founded in 1958, it now houses over twenty thousand works of art, covering some five thousand years of culture from around the globe. "Look Close, Think Far" is the tagline of the Ackland, informing everything from its dynamic and varied exhibitions program to its ambitious interpretation, education, and outreach activities. It applies especially strongly to the museum's extensive permanent collection. This publication showcases a cross-section of the diverse collection, with 283 works that reflect the museum's character, breadth, and quality. Instead of separating works along the lines of curatorial departments, editor Peter Nisbet's arrangement emphasizes the unity of the collection by merging works from different cultures. These are presented in a largely chronological sequence, starting with the present and extending back in time. Within this order, works of art are deliberately paired across individual page openings to stimulate visual attention, reflective thinking, and sometimes just a smile.
Quatremère de Quincy's Moral Considerations on the Place and Purpose of Works of Art by
Antoine Chrysostome Quatrem re de Quincy (1755-1849) was the most important Neoclassical art historian in the generation after Johann Joachim Winckelmann (1717-1768). It is difficult now to appreciate his importance, due in part to the lack of translations of his 21 published books: three were rendered into English in the 19th century, and one in the 21st. The Moral Considerations has long been considered the most shattering polemic against public museums ever written. But I will show that Quatrem re's polemic was aimed, not against museums per se, but rather against the imperialist and secularist curatorial purposes of Parisian museums in the age of Revolution. His Neoclassical commitments maintained the centrality of religion, and of incarnation, to any proper understanding of the place and purpose of the fine arts.
Managing the cultural business : avoiding mistakes, finding success by 
Mayas : el lenguaje de la belleza, miradas cruzadas / textos, Mario Humberto Ruz Sosa [and five others] ; textos de introducción, secciones y piezas, Karina Romero Blanco.
Teotihuacan : ciudad de los dioses
Le blason des temps nouveaux : signes, emblèmes et couleurs dans la France de la Renaissance by 
