This beautifully illustrated monograph presents the first overview in English of the life and work of Luisa Roldan (1652-1706), a prolific and celebrated sculptor of the Spanish Golden Age. The daughter of Pedro Roldan, a well-known sculptor from Seville, she developed her talent in her father's workshop. Early in her career she produced large polychromed wooden sculptures for churches in Seville, Cadiz, and surrounding towns. She spent the second half of her career in Madrid, where she worked in both polychromed wood and polychromed terracotta, developing new products for a domestic, devotional market. In recognition of her talent, she was awarded the title of Sculptor to the Royal Chambers of two kings of Spain, Charles II and Philip V. This book places Roldan within a wider historical and social context, exploring what life would have been like for her as a woman sculptor in early modern Spain. It considers her work alongside that of other artists of the Baroque period, including Velazquez, Murillo, and Zurbaran. Reflecting on the opportunities available to her during this time, as well as the challenges she faced, Catherine Hall-van den Elsen weaves the narrative of Roldan's story with analysis, revealing the complexities of her oeuvre. Every year, newly discovered sculptures in wood and in terracotta enter into Roldan's oeuvre. As her artistic output begins to attract greater attention from scholars and art lovers, Luisa Roldan provides invaluable insights into her artistic achievements.

This generously illustrated volume on the work of Rembrandt makes the world's greatest art accessible to readers of every level of appreciation. Celebrated for his penetrating portraits, richly detailed landscapes, and evocative narrative paintings, the seventeenth century artist Rembrandt is generally considered one of Europe's greatest painters and printmakers, and the master of the Dutch School. His work is distinguished by broad brushwork, luminous palettes, and a sense of order and movement that recalls the finest Renaissance art. Overflowing with impeccably reproduced images, this book offers fullpage spreads of masterpieces as well as highlights of smaller details--allowing the viewer to appreciate every aspect of the artist's technique and oeuvre. Chronologically arranged, the book covers important biographical and historic events that reflect the latest scholarship. Additional information includes a list of works, timeline, and suggestions for further reading.

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.

The legacy of graphic artist William Hogarth (1697-1764) remains so emphatic that even his last name has evolved into a common vernacular term referring to his characteristically scathing form of satire. Featuring rarely seen images and written contributions from leading scholars, this book showcases a collection of the artist's works gathered from the Lewis Walpole Library at Yale University and other repositories. It attests to the idiosyncratic nature of his style and its international influence, which continues to incite aesthetic and moral debate among critics. The eight essays by eminent Hogarth experts help to further contextualize the artist's unique narrative strategies, embedding the work within German philosophical debates and the moral confusion of the Victorian period and emphasizing the social and political dimensions that are part and parcel of its profound impact. Endlessly parodied and emulated, Hogarth's distinctive satire persists in its influence throughout the centuries and this publication provides the necessary lens through which to view it. Distributed for the Lewis Walpole Library

"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

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.

This beautiful publication accompanies an exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720–1778). It 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 explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. The Morgan Library& Museum holds what is arguably the largest and most important collection of these works, more than 100 drawings that include early architectural caprices, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. These works form the core of the book, which will be published on the occasion of the Morgan’s Spring 2023 exhibition of Piranesi drawings. More than merely an exhibition catalogue or a study of the Morgan’s Piranesi holdings, however, this publication is a monograph that offers a complete survey of Piranesi’s work as a draftsman. It includes discussion of Piranesi’s drawings in public and private collections worldwide, with particular attention paid to the large surviving groups of drawings in New York, Berlin, Hamburg, and London; it also puts the large newly discovered cache of Piranesi material in Karlsruhe in context. The most comprehensive study of Piranesi’s drawings to appear in more than a generation, the book includes more than 200 illustrations, and while focused on the drawings it offers insights on Piranesi’s print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer. In sum, the present work offers a new account of Piranesi’s life and work, based on the evidence of his drawings.

A biography of the great portraitist Frans Hals that takes the reader into the turbulent world of the Dutch Golden Age. Frans Hals was one of the greatest portrait painters in history, and his style transformed ideas and expectations about what portraiture can do and what a painting should look like. Hals was a member of the great trifecta of Dutch Baroque painters alongside Rembrandt and Vermeer, and he was the portraitist of choice for entrepreneurs, merchants, professionals, theologians, intellectuals, militiamen, and even his fellow artists in the Dutch Golden Age. His works, with their visible brush strokes and bold execution, lacked the fine detail and smooth finish common among his peers, and some dismissed his works as sloppy and unfinished. But for others, they were fresh and exciting, filled with a sense of the sitter's animated presence captured with energy and immediacy. Steven Nadler gives us the first full-length biography of Hals in many years and offers a view into seventeenth-century Haarlem and this culturally rich era of the Dutch Republic. He tells the story not only of Hals's life, but also of the artistic, social, political, and religious worlds in which he lived and worked.

Taking a cue from revisionist scholarship on early modern vernacular architectures and their relationship to the classical canon, this book rehabilitates the reputations of a representative if misunderstood building typology - the eighteenth-century brick terraced house - and the artisan communities of bricklayers, carpenters and plasterers responsible for its design and construction. Opening with a cultural history of the building tradesman in terms of his reception within contemporary architectural discourse, chapters consider the design, decoration and marketing of the town house in the principal cities of the eighteenth- and early nineteenth-century British Atlantic world. The book is essential reading for students and scholars of the history of architectural design and interior decoration specifically, and of eighteenth-century society and culture generally. -- .

In Visual Cultures of Death in Central Europe, Aleksandra Koutny-Jones explores the emergence of a remarkable cultural preoccupation with death in Poland-Lithuania (1569-1795). Examining why such interests resonated so strongly in the Baroque art of this Commonwealth, she argues that the printing revolution, the impact of the Counter-Reformation, and multiple afflictions suffered by Poland-Lithuania all contributed to a deep cultural concern with mortality. Introducing readers to a range of art, architecture and material culture, this study considers various visual evocations of death including 'Dance of Death' imagery, funerary decorations, coffin portraiture, tomb chapels and religious landscapes. These, Koutny-Jones argues, engaged with wider European cultures of contemplation and commemoration, while also being critically adapted to the specific context of Poland-Lithuania.

Almost Eternal: Painting on Stone and Material Innovation in Early Modern Europe gathers together an international group of ten scholars, who offer a novel account of the phenomenon of oil painting on stone surfaces in Northern and Southern Europe. This technique was devised in Rome by Sebastiano del Piombo in the early sixteenth century and was practiced until the late seventeenth century. This phenomenon has attracted little attention previously: the volume therefore makes a significant and timely contribution to the field in the light of recent studies of materiality and the rise of technical Art History. Contributors: Nadia Baadj, Piers Baker-Bates, Elena Calvillo, Ana Gonsalez Mozo, Anna Kim, Helen Langdon, Johanna Beate Lohff, Judith Mann, Christopher Nygren, Suzanne Wegmann, and Giulia Martina Weston.

What role did visual artists play in the emergence and spread of nationalism and a sense of national identity? Focusing on late-eighteenth and early-nineteenth century Britain and France, this original study in the historical sociology of nations and nationalism analyses the contributions of artists in these and other West European countries to the creation of memorable images of the abstract concept of the nation. By employing different modes of depiction for conveying moral lessons, evoking the atmosphere of the homeland, and commemorating the fallen in battle, David, Ingres, Turner, Constable, and Friedrich, as well as a host of lesser artists, were able to make the national idea appear palpable and accessible, and the abstract concept of the nation seem 'authentic' and 'real'. After a brief description of the main themes of the visual record of Dutch nation-building in the seventeenth century, Anthony D. Smith presents an original comparative analysis of the rise of 'national art' in eighteenth-century Britain and France. Subsequent chapters address the emblems and oath-swearing ceremonies of the citizen nation, the evocation of native poetic landscapes, the exempla virtutis of national heroes, ancient and modern, and the funerary memorials of martyrs and soldiers who sacrificed themselves for the nation in Britain and France. The conclusion highlights the common elements and the main differences in the French and British trajectories of artistic and national development. Illustrated with striking images, The Nation Made Real offers a new interpretation of the role of visual culture in the formation of nations and national identity among the educated classes in Western Europe.

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.

Artemisia Gentileschi was the greatest female artists of the Baroque age. In Artemisia Gentileschi, critic and historian Jonathan Jones discovers how Artemisia overcame a turbulent past to become one of the foremost painters of her day. As a young woman Artemisia was raped by her tutor, and then had to endure a seven-month-long trial during which she was brutally examined by the authorities. Gentileschi was shamed in a culture where honour was everything. Yet she went on to become one of the most sought-after artists of the seventeenth century. Yet she went on to become one of the most sought-after artists of the seventeenth century. Gentileschi's art communicated a powerful personal vision. Like Frida Kahlo, Louise Bourgeois or Tracey Emin, she put her life into her art. 'Lives of the Artists'is a new series of brief artists biographies from Laurence King Publishing. The series takes as its inspiration Giorgio Vasari's five-hundred-year-old masterwork, updating it with modern takes on the lives of key artists past and present. Focusing on the life of the artist rather than examining their work, each book also includes key images illustrating the artist's life.

The brilliance of Peter Paul Rubens' career changed forever the perceptions of painting and painters. Here was a man whose astonishing gifts were allied to a personality so cosmopolitan, engaging, and virtuous that he could mingle as easily with kings as with fellow painters. Rubens' character and achievements fascinated his contemporaries, and these three biographies of the artist show the impact of his life and art on three very different observers. Baglione, an Italian painter and art historian, records the remarkable success of Rubens visits to Rome; Sandrart, a German painter, writes on the later years of his career; and de Piles, one of the greatest early art critics, offers an evaluation of Rubens style that remains one of the most influential ever written.

A rare examination of the political, social, and economic contexts in which painters in Tudor and Early Stuart England lived and worked While famous artists such as Holbein, Rubens, or Van Dyck are all known for their creative periods in England or their employment at the English court, they still had to make ends meet, as did the less well-known practitioners of their craft. This book, by one of the leading historians of Tudor and Stuart England, sheds light on the daily concerns, practices, and activities of many of these painters. Drawing on a biographical database comprising nearly 3000 painters and craftsmen - strangers and native English, Londoners and provincial townsmen, men and sometimes women, celebrity artists and 'mere painters' - this book offers an account of what it meant to paint for a living in early modern England. It considers the origins of these painters as well as their geographical location, the varieties of their expertise, and the personnel and spatial arrangements of their workshops. Engagingly written, the book captures a sense of mobility and exchange between England and the continent through the considerable influence of stranger-painters, undermining traditional notions about the insular character of this phase in the history of English art. By showing how painters responded to the greater political, religious, and economic upheavals of the time, the study refracts the history of England itself through the lens of this particular occupation.

This book examines the intersections between the ways that marriage was represented in eighteenth-century writing and art, experienced in society, and regulated by law. The interdisciplinary and comparative essays explore the marital experience beyond the 'matrimonial barrier' to encompass representations of married life including issues of spousal abuse, parenting, incest, infidelity and the period after the end of marriage, to include annulment, widowhood and divorce. The chapters range from these focuses on legal and social histories of marriage to treatments of marriage in eighteenth-century periodicals, to depictions of married couples and families in eighteenth-century art, to parallels in French literature and diaries, to representations of violence and marriage in Gothic novels, and to surveys of same-sex partnerships. The volume is aimed towards students and scholars working in the long eighteenth century, gender studies, women's writing, publishing history, and art and legal historians.

Even during the artist's lifetime, contemporary art lovers considered Rembrandt van Rijn (1606-1669) to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt: The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates the painter's considerations that determined the striking changes in his development from an early age onwards. This gorgeously illustrated book explores how Rembrandt achieved mastery by systematic exploration of the 'foundations of the art of painting'. According to written sources from the seventeenth century, which were largely misinterpreted until now, these 'foundations' were considered essential at that time. From his first endeavours in painting, Rembrandt embarked on a journey past these foundations, thus becoming the 'pittore famoso', whom Count Cosimo the Medici visited at the end of his life. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes that cannot simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist's, Van de Wetering reveals how Rembrandt became the revolutionary painter that would continue to fascinate the art world. This ground breaking exploration reconstructs Rembrandt's theories and methods, shedding new light both on the artist's exceptional accomplishments and on the theory and practice of painting in the Dutch Golden Age.

Even during the artist's lifetime, contemporary art lovers considered Rembrandt van Rijn (1606-1669) to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt: The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates the painter's considerations that determined the striking changes in his development from an early age onwards. This gorgeously illustrated book explores how Rembrandt achieved mastery by systematic exploration of the 'foundations of the art of painting'. According to written sources from the seventeenth century, which were largely misinterpreted until now, these 'foundations' were considered essential at that time. From his first endeavours in painting, Rembrandt embarked on a journey past these foundations, thus becoming the 'pittore famoso', whom Count Cosimo the Medici visited at the end of his life. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes that cannot simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist's, Van de Wetering reveals how Rembrandt became the revolutionary painter that would continue to fascinate the art world. This ground breaking exploration reconstructs Rembrandt's theories and methods, shedding new light both on the artist's exceptional accomplishments and on the theory and practice of painting in the Dutch Golden Age. Everyone who is interested in the art of painting should read this phenomenal book, because it was written with incredible knowledge and experience on the subject. It shows in a clear and simple way how Rembrandt worked and the things he had to take into account. At the same time it offers a fantastic sample of Rembrandt's life's work, thanks to the well-chosen selection of illustrations. David Rijser, NRC Handelsblad

An in-depth examination of the crucial role that Amsterdam played in Rembrandt's evolution as an artist Around the age of 25, Rembrandt van Rijn (1606-1669) moved from his hometown of Leiden to Amsterdam, which was the commercial capital of northern Europe at that time. Considered a bold step for a fledgling artist, this change demonstrates that Rembrandt wanted to benefit financially from Amsterdam's robust art market. He soon married the cousin of a successful art dealer, and came into frequent contact with wealthy and sophisticated patrons who eagerly commissioned him to paint their portraits. The artist's style quickly evolved from the small, meticulous panels of his Leiden period to the broadly brushed, dramatically lit, and realistically rendered canvases for which he is renowned. Rembrandt in Amsterdam explores this pivotal transition in the artist's career and reveals how the stimulating and affluent environment of Amsterdam inspired him to reach his full potential. Lavishly illustrated, this volume offers a fascinating look into Amsterdam's unparalleled creative community and its role in Rembrandt's development of a wide-ranging brand that comprised landscapes, genre scenes, history paintings, portraits, and printmaking. Distributed for the National Gallery of Canada, Ottawa Exhibition Schedule: National Gallery of Canada, Ottawa (May 14-September 6, 2021) Stadel Museum, Frankfurt am Main (Fall 2021)

George and Maida Abrams amassed perhaps the finest private collection of Dutch Old Master drawings in the world. This catalogue presents a selection of these superb works, and explores the role of drawing in the creative process in Rembrandt's studio and wider circle. The artists featured include Ferdinand Bol, Govert Flinck, Samuel van Hoogstraten, Jan Lievens, and Nicolas Maes: the key figures in Rembrandt's circle, who at times were deeply influenced by his remarkable style and on other occasions explored different approaches. Their works range from figure studies to landscapes, from narrative and biblical scenes to lively genre scenes. At the heart of the catalogue are ten exceptional drawings by Rembrandt, including two highly finished landscape drawings and a variety of figure studies. The accompanying text is written by two leading scholars of Dutch art, both of whom have worked closely with the Abrams collection. Published in association with the Bruce Museum Exhibition Schedule: Bruce Museum, Greenwich, CT (09/24/11-01/08/12)

Baroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi's historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana's sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art. -- .