In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats-a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era-particularly Rembrandt-this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries-including Albrecht Durer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine-the book demonstrates the indelible mark that Van Dyck left on the genre. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (03/05/16-08/07/16)

As one of the first books to treat portraits of early modern women as a discrete subject, this volume considers the possibilities and limits of agency and identity for women in history and, with particular attention to gender, as categories of analysis for women's images. Its nine original essays on Italy, the Low Countries, Germany, France, and England deepen the usefulness of these analytical tools for portraiture. Among the book's broad contributions: it dispels false assumptions about agency's possibilities and limits, showing how agency can be located outside of conventional understanding, and, conversely, how it can be stretched too far. It demonstrates that agency is compatible with relational gender analysis, especially when alternative agencies such as spectatorship are taken into account. It also makes evident the importance of aesthetics for the study of identity and agency. The individual essays reveal, among other things, how portraits broadened the traditional parameters of portraiture, explored transvestism and same-sex eroticism, appropriated aspects of male portraiture to claim those values for their sitters, and, as sites for gender negotiation, resistance, and debate, invoked considerable relational anxiety. Richly layered in method, the book offers an array of provocative insights into its subject.

Stevenson introduces this book of a collection of the famous painter and drawer 'Rubens' artwork. This book is brought together with reproductions, notes and origins of the photographs.

Stevenson introduces this book of a collection of the famous painter and drawer 'Rubens' artwork. This book is brought together with reproductions, notes and origins of the photographs.

The part religion played in questions of national identity in early modern England is a familiar historical theme, yet little work has been done on how this worked culturally. Nowhere is this more visible than in the seeming contradiction of a militantly Protestant nation such as England, that had a high regard for Catholic art. It is this dichotomy, the tensions between art and anti-Catholicism, that forms the central investigation of this book. During the late seventeenth and eighteenth century, religious art was closely identified with idolatry, and the use of images was one of the most obvious markers of the boundary between Protestantism and Catholicism. This manifested itself in an unease about the status of the religious image in English society, which was articulated in religious tracts, anti-Catholic propaganda, polemical debate, court cases and numerous other places. In light of these attacks upon 'idolatry', the fact that a great deal of Catholic art was so highly regarded and sought after seems puzzling. By discussing English attitudes towards the works of Italian painters (including Raphael, Michelangelo and Domenichino) and the ways in which native artists sought appropriately Protestant ways of emulating them, this volume offers a fascinating perspective on the dichotomy that existed between English appreciation and disapproval of Catholic culture. By taking this cultural and artistic approach and applying it to the broader historical themes, a new and invigorating way of understanding religion and national identity is offered.

This book focuses on key monuments of the Baroque style, which varies in different European contexts. It is intended to affirm the existence of individual genius, identifiable styles of art, and historical periods that produced them.

The unexpected story of an essential 18th and 19th century accessory This fascinating and enlightening study of the tie-on pocket combines materiality and gender to provide new insight into the social history of women's everyday lives-from duchesses and country gentry to prostitutes and washerwomen-and to explore their consumption practices, sociability, mobility, privacy, and identity. A wealth of evidence reveals unexpected facets of the past, bringing women's stories into intimate focus. "What particularly interests Burman and Fennetaux is the way in which women of all classes have historically used these tie-on pockets as a supplementary body part to help them negotiate their way through a world that was not built to suit them."-Kathryn Hughes, The Guardian "A riveting book . . . few stones are left unturned."-Roberta Smith's "Top Art Books of 2019," The New York Times "A brilliant book."-Ulinka Rublack, Times Literary Supplement

The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention. Rome, Travel and the Sculpture Capital, c.1770-1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.

Catherine the Great's audacious power grab in 1762 marked a watershed in imperial Russian history. During a momentous 34-year reign, her rapacious vision and intellectual curiosity led to vast territorial expansion, cultural advancement, and civic, educational and social reform. In this pioneering book, Rosalind Blakesley reveals the remarkable role women artists played in her pursuit of these ambitions. With challenging commissions for an elite cast of Russian patrons, their work underscores the extent to which cultural enrichment co-existed with the empress's imperial designs. Catherine's acquisitions propelled renowned artists to new heights. The history paintings that she purchased from Angelica Kauffman brought the Swiss artist to the attention of keen new patrons, while Elisabeth Louise Vigee Le Brun found in Russia safe refuge from the horrors of revolutionary France. Just as important were Catherine's relationships with lesser-known artists. The young sculptor Marie-Anne Collot made the arduous journey from Paris to St Petersburg to assist on the equestrian monument to Peter the Great and enthralled Russian society with her portrait busts, while Grand Duchess Maria Fedorovna, wife of Catherine's troubled son Paul, sculpted cameos which the empress sent to distinguished correspondents abroad. With stories of extraordinary artistic endeavour intertwined with the intrigue of Catherine's personal life, Women Artists in the Reign of Catherine the Great uncovers the impact of these and other artists at one of Europe's most elaborate courts.

Conflicting Visions: War and Visual Culture in Britain and France, c. 1700-1830 offers the first systematic reappraisal of the cultural representation of war in Britain and France during the 'long' eighteenth century. This radical collection of essays explores the relation of visual imagery and aesthetics to conflict during this important period, drawing upon a wealth of materials including paintings and prints, maps and topographical drawings, commemorative sculpture and historical artefacts. The intriguing case studies reveal that military conflict was not a sphere of social activity separated from artistic culture but rather a determining factor in cultural production, and that war itself was largely comprehended, debated and experienced through those products. Key themes and preoccupations - how differing ideas of the public were predicated by the representation of war; how such notions were shaped by the imperial contexts of war; the relations between conflict, national identity and historical memory - are addressed to show that war served as a primary vehicle for the representation of numerous associated and contested issues, including patriotism and the idea of the nation, loyalty and opposition, heroism and masculinity, sympathy and sensibility.

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.

This elegant volume presents 44 outstanding Old Master paintings, primarily from the 17th and 18th centuries, that Jordan and Thomas Saunders III collected over the past 25 years. Included in the Saunders Collection are works by renowned Dutch, Flemish, French, Italian, and English masters, among them Frans Hals, Jan Davidsz de Heem, Jan Brueghel, Peter Paul Rubens, Nicolas de Largilliere, Canaletto, Francesco Guardi, and Thomas Lawrence. This richly illustrated catalogue was written by a team of specialists under the guidance of Arthur K. Wheelock Jr, former curator at the National Gallery of Art. The introductory essay discusses the principles that guided the Saunders in forming their collection, and the individual entries examine how artists fused careful observation with the imagination to create beautiful and thought-provoking paintings. These texts also examine the social, economic, and political realities that had an impact on these artistic creations.

The eighteenth century is recognized as a complex period of dramatic epistemic shifts that would have profound effects on the modern world. Paradoxically, the art of the era continues to be a relatively neglected field within art history. While women's private lives, their involvement with cultural production, the project of Enlightenment, and the public sphere have been the subjects of ground-breaking historical and literary studies in recent decades, women's engagement with the arts remains one of the richest and most under-explored areas for scholarly investigation. This collection of new essays by specialist authors addresses women's activities as patrons and as "patronized" artists over the course of the century. It provides a much needed examination, with admirable breadth and variety, of women's artistic production and patronage during the eighteenth century. By opening up the specific problems and conflicts inherent in women's artistic involvements from the perspective of what was at stake for the eighteenth-century women themselves, it also acts as a corrective to the generalizing and stereotyping about the prominence of those women, which is too often present in current day literature. Some essays are concerned with how women's involvement in the arts allowed them to fashion identities for themselves (whether national, political, religious, intellectual, artistic, or gender-based) and how such self-fashioning in turn enabled them to negotiate or intervene in the public domains of culture and politics where "The Woman Question" was so hotly debated. Other essays examine how men's patronage of women also served as a vehicle for self-fashioning for both artist and sponsor. Artists and patrons discussed include: Carriera; Queen Lovisa Ulrike and Chardin; the Bourbon Princesses Mlle Clermont, Mme AdelaA-de and Nattier; the Duchess of Osuna and Goya; Marie-Antoinette and Vigee-Lebrun; Labille-Guiard; Queen Carolina of Naples, Prince Stanislaus Poniatowski of Poland and Kauffman; David and his students, Mesdames Benoist, Lavoisier and Mongez.

By the end of the eighteenth century a distinctly modern vision of life was emerging. The revolutions in America and France revealed new beliefs about human nature, rights and duties, the natural and material worlds, and a new faith in science, technology and the idea of progress. As people began to change the way they thought about themselves and the world around them, a whole new way of thinking developed, which still has an overwhelming impact two centuries on.
The Enlightenment brings together the work of major Enlightenment thinkers such as Hobbes, Rousseau, Diderot and Kant, to illustrate the full importance and achievements of this period in history. Extracts are gathered thematically into sections on such aspects of the Enlightenment as
* political theory
* religion and belief
* art and nature.
All essays are introduced and a final section on 'Critical Reflections' provides a selection of modern critical opinions on the period by writers including Foucault, Habermas, and Lyotard.
Containing illustrations from the work of artists such as Hogarth and Gainsborough, a chronology of the Enlightenment, and a detailed bibliography, The Enlightenment is a rich source of information and inspiration for all those studying this great period of change.

This title was first published in 2002: Draw ing on extensive primary research, Greg Smith describes the shifting cultural identities of the English watercolour, and the English watercolourist, at the end of the eighteenth and the beginning of the nineteenth century. His convincing narrative of the conflicts and alliances that marked the history of the medium and its practitioners during this period includes careful detail about the broader artistic context within which watercolours were produced, acquired and discussed. Smith calls into question many of the received assumptions about the history of watercolour painting. His account exposes the unsatisfactory nature of the traditional narrative of watercolour painting's development into a 'high' art form, which has tended to offer a celebratory focus on the innovations and genius of individual practitioners such as Turner and Girtin, rather than detailing the anxieties and aspirations that characterized the ambivalent status of the watercolourist. The Emergence of the Professional Watercolourist is published with the assistance of the Paul Mellon Foundation.

Animals were everywhere in the early modern period and they impacted, at least in some way, the lives of every kind of early modern person, from the humblest peasant to the greatest prince. Artists made careers based on depicting them. English gentry impoverished themselves spending money on them. Humanists exercised their scholarship writing about them. Pastors saved souls delivering sermons on them. Nobles forged alliances competing with them. Foreigners and indigenes negotiated with one another through trading them. The nexus between animal-human relationships and early modern identity is illuminated in this volume by the latest research of international scholars working on the history of art, literature, and of sixteenth- and seventeenth-century Germany, France, England, Spain, and South Africa. Collectively, these essays investigate how animals - horses, dogs, pigs, hogs, fish, cattle, sheep, birds, rhinoceroses, even sea-monsters and other creatures - served people in Europe, England, the Americas, and Africa to defend, contest or transcend the boundaries of early modern identities. Developments in the methodologies employed by scholars to interrogate the past have opened up an intellectual and discursive space for - and a concomitant recognition of - the study of animals as a topic that significantly elucidates past and present histories. Relevant to a considerable array of disciplines, the study of animals also provides a means to surmount traditional disciplinary boundaries through processes of dynamic interchange and cross-fertilization.

Peter Paul Rubens and the Crisis of the Beati Moderni takes up the question of the issues involved in the formation of recent saints - or Beati moderni (modern Blesseds) as they were called - by the Jesuits and Oratorians in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. Ruth Noyes focuses particularly on how the new regulations pertained to the creation of emerging cults of those not yet canonized, the so-called Beati moderni, such as Jesuit founders Francis Xavier and Ignatius Loyola, and Filippo Neri, founder of the Oratorians. Centrally involved in the book is the question of the fate and meaning of the two altarpiece paintings commissioned by the Oratorians from Peter Paul Rubens. The Congregation rejected his first altarpiece because it too specifically identified Filippo Neri as a cult figure to be venerated (before his actual canonization) and thus was caught up in the politics of cult formation and the papacy's desire to control such pre-canonization cults. The book demonstrates that Rubens' second altarpiece, although less overtly depicting Neri as a saint, was if anything more radical in the claims it made for him. Peter Paul Rubens and the Crisis of the Beati Moderni offers the first comparative study of Jesuit and Oratorian images of their respective would-be saints, and the controversy they ignited across Church hierarchies. It is also the first work to examine provocative Philippine imagery and demonstrate how its bold promotion specifically triggered the first wave of curial censure in 1602.

From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.

Wallpaper's spread across trades, class and gender is charted in this first full-length study of the material's use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper's evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper's growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mache and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior.

"In this admirable work, at once passionately argued and lucidly written, Professor Garrard effectively considers the social, psychological, and formal complexity of the shaping and reshaping not only of the artist's feminine and feminist identity in the misogynistic society of the seventeenth century, but also of that identity in the discipline of art history today."--Steven Z. Levine, author of "Monet, Narcissus, and Self-Reflection

"Mary Garrard's detailed investigation into attribution problems in two Artemisia Gentileschi paintings brilliantly interweaves connoisseurship, constructions of gender and artistic identity, and historical analysis. The result is a richer and more nuanced vision of the best-known female artist in western history before the modern era, and an important contribution to feminist studies." --Whitney Chadwick, author of "Women, Art, and Society

"In her new book, Garrard has taken two bold steps that challenge much received opinion in the 'discipline' of art history. Analyzing two of Gentileschi's least violent but most moving images, Garrard argues that the painter's personality is discernible no less in the subjects and their interpretation than in the 'style' of the works; consideration of both aspects is essential to understanding the meaning of these extraordinary pictures and her authorship. Perhaps even more important, Garrard makes crystal clear that Artemisia Gentileschi, far from a 'good woman painter, ' was one of the major visual thinkers of her time."--Irving Lavin, co-author with Marilyn Aronberg Lavin, of "La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000)

"Developing herearlier methodologies and revising some conclusions, Garrard clarifies her distinct theoretical approach and voice among feminist critiques of art history. In this text, which reads in part like a forensic mystery, Garrard builds not only an argument for attributions of particular works, but a new understanding of Gentileschi herself at a particular moment in history."--Hilary Robinson, editor of "Visibly Female: Feminism and Art Today

"One of our most distinguished feminist art historians brings contemporary gender studies to bear on traditional paintings connoisseurship to show how attributions to female artists have often been governed by tacit cultural assumptions about the limitations of women. Her case makes compelling reading for anyone interested in early modern society, culture, women and art in Italy, and in the problematics of feminism and art history."--Kathleen Weil-Garris Brandt, author of "Leonardo e la Scultura

"By revealing a great woman painter's ways of expressing uniqueness while negotiating expectations, Mary Garrard helps each of us with the subtleties of remaining authentic while living in the world. Artemisia Gentileschi around 1622 is art history to live by."--Gloria Steinem

The painting La Surprise by Jean Antoine Watteau (1684-1721) belongs to a new genre of painting invented by the artist himself-the fete galante. These works, which show graceful open-air gatherings filled with scenes of courtship, music and dance, strolling lovers, and actors, do not so much tell a story as set a mood: one of playful, wistful, nostalgic reverie. Esteemed by collectors in Watteau's day as a work that showed the artist at the height of his skill and success, La Surprise vanished from public view in 1848, not to reemerge for more than a century and a half. Acquired by the Getty Museum in 2017, it has never before been the subject of a dedicated publication. Marking the three hundredth anniversary of Watteau's death, this book considers La Surprise within the context of the artist's oeuvre, and discusses the surprising history of collecting Watteau in Los Angeles.

A 'How to' book featuring painting techniques used by Dutch Renaissance Masters such as Rembrandt and Rubens, Bruegel and Bosch. This beautifully illustrated book for practising artists and art students examines everything there is to know about the techniques used by the Dutch Masters of the Golden Age. From the preparation of surfaces and the creation of paints and pigments to the methods used, award-winning artist Brigid Marlin considers how these skills can work in modern settings and includes stunning representations of contemporary artists' work. Discover the techniques and materials used by Rembrandt in his portraits, how to achieve balance and tension, rhythm and points of interest in the style of Bruegel and Rubens, and how to recreate luminous still-life paintings like those of the Van Eyck brothers. Projects include clear, step-by-step demonstrations to replicate these almost-forgotten techniques as well as examples of works which they inspired.

From its establishment in 1648 until its disbanding in 1793 after the French Revolution, the Academie Royale de Peinture et de Sculpture was the centre of the Parisian art world. Taking the reader behind the scenes of this elite bastion of French art theory, education, and practice, this engaging study uncovers the fascinating histories - official and unofficial - of that artistic community. Through an innovative approach to portraits - their values, functions, and lives as objects - this book explores two faces of the Academie. Official portraits grant us insider access to institutional hierarchies, ideologies, rituals, customs, and everyday experiences in the Academie's Louvre apartments. Unofficial portraits in turn reveal hidden histories of artists' personal relationships: family networks, intimate friendships, and bitter rivalries. Drawing on both art-historical and anthropological frames of analysis, this book offers insightful interpretations of portraits read through and against documentary evidence from the archives to create a rich story of people, places, and objects. Theoretically informed, rigorously researched, and historically grounded, this book sheds new light on the inner workings of the Academie. Its discoveries and compelling narrative make an invaluable and accessible contribution to our understanding of this pre-eminent European institution and the social lives of artists in early modern Paris.

This reference guide aims to explain and discuss four important periods in the history of Western art - the Romanesque, Gothic, Renaissance, and Baroque. Its goal is to create a sense of understanding, recognition and appreciation of art by analyzing, within the four periods, three distinct artistic genres: painting; sculpture; and architecture.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989