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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
Redefining Eclecticism in Early Modern Bolognese Painting. Ideology, Practice, and Criticism focuses on the unique nature of early modern Bolognese painting that found its expression in stylistic diversity. The flourishing of different stylistic approaches in the Mannerist paintings of the previous generation evolved, at the turn the seventeenth century, in the work of the Bolognese painters into an approach best described as eclecticism, characterized by the combination of two or more styles in a single work of art. Eclectism was a major innovation and major contribution to the history of art. But it then also became a critical term that suffered much negative press. The book therefore also traces the role of ecclecticism as a concept in the evolution of criticism and scholarship about the Bolognese school of painting over 250 years, showing how the dramatically vacillating attitudes towards this concept shaped the historical view of the Bolognese painters, ultimately having a tremendous dampening impact on our understanding of seventeenth-century art.
Following in the methodological footsteps of his prize-winning Sir Joshua Reynolds: The Painter in Society, Richard Wendorf's new book on British art in the eighteenth and nineteenth centuries is an experiment in cultural history, combining the analysis of specific artistic objects with an exploration of the cultural conditions in which they were created. Themes include an investigation of what happens when a painter dies, the role of writing around and within visual objects, and the nature of evidence in art history. Extended interpretations of some of the most iconic images in British art, including Constable's Cenotaph, Raeburn's Skating Minister, Stubbs's Haymakers and Reapers, and Rossetti's Prosperpine, Venus Verticordia, and Blessed Damosel, are part of a broader investigation of the ways in which we practice art history today. Published for the Paul Mellon Centre for Studies in British Art
Canaletto's time in Mid-Georgian Britain has received much scholarly attention in the past. But this book places his work in a broader political and social context, linking his paintings and drawings with a growing sense of assurance and mission which the British nation was beginning to display - perhaps best represented by the works of William Hogarth.
This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, "The Moment of Caravaggio" displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late "Martyrdom of Saint Ursula." And with close to 200 color images, "The Moment of Caravaggio" is as richly illustrated as it is closely argued. The result is an electrifying new perspective on a crucial episode in the history of European painting. Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne.
This ambitious work lifts the veil on a pivotal chapter in the history of art and its social meaning. This book explores the principles of the display of art in the magnificent Roman palaces of the early modern period, focusing attention on how the parts function to convey multiple artistic, social, and political messages, all within an environment that provided a model for aristocratic residences throughout Europe. Many of the objects exhibited in museums today once graced the interior of a Roman Baroque palazzo or a setting inspired by one. In fact, the very convention of a paintings gallery - the mainstay of museums - traces its ancestry to prototypes in the palaces of Rome. Inside Roman palaces, the display of art was calibrated to an increasingly accentuated dynamism of social and official life, activated by the moving bodies and the attention of residents and visitors. Display unfolded in space in a purposeful narrative that reflected rank, honor, privilege, and intimacy. With a contextual approach that encompasses the full range of media, from textiles to stucco, this study traces the influential emerging concept of a unified interior. It argues that art history - even the emergence of the modern category of fine art - was worked out as much in the rooms of palaces as in the printed pages of Vasari and other early writers on art.
This is a nonchronological introduction to Baroque, one of the great periods of European art. John Martin's descriptions of the essential characteristics of the Baroque help one to gain an understanding of the style. His illustrations are informative and he has clearly looked with a fresh eye at the works of art themselves. In addition to the more than 200 illustrations, the volume contains an appendix of translated documents.
The 18th-century painter Johan Zoffany (1733-1810) was an astute observer of the many social circles in which he functioned as an artist over the course of his long career. This catalogue investigates his sharp wit, shrewd political appraisal, and perceptive social commentary (including subtle allusions to illicit relationships)-all achieved while presenting his subjects as delightful and sophisticated members of polite society. A skilled networker, Zoffany established himself at the court of George III and Queen Charlotte soon after his arrival in England from his native Germany. At the same time, he befriended the leading actor David Garrick and through him became the foremost portrayer of Georgian theater. His brilliant effects and deft style were well suited to theatricality of all sorts, enabling him to secure patronage in England and on the continent. Following a prolonged visit to Italy he travelled to India, where he quickly became a popular and established member within the circle of Warren Hastings, the governor-general. Zoffany's Indian paintings are among his most spectacular and allowed him to return to England enriched and warmly welcomed. This volume provides a sparkling overview of his finest works. Published for the Yale Center for British Art and the Royal Academy Exhibition Schedule: Yale Center for British Art (10/27/11-02/12/12) Royal Academy (03/10/12-06/10/12)
This is the first title in a new prestigious cultural tourism project by Lannoo Publishers. The Peter Paul Rubens Atlas illustrates the life of Rubens on a timeline: important dates and periods in the life of the Old Master are indicated and elaborated on in the main part of the book through text, images and maps. One of those maps could, for example show Peter Paul Rubens' stay in Italy or his diplomatic journeys, but it could also take the reader on a city walk through Antwerp, visiting places that are linked to Rubens and his work. The maps are designed to reflect the age in which the artist lived. More than striving for artistic comprehensiveness in terms of art history, these atlases are intended to reflect the context in which the artists lived, worked and flourished. Just think of the artistic exchange between Italy and Flanders, the influence of the Catholic Church and the religious strife of the time, the role of art promoters, etc. It goes without saying that the atlases are richly adorned with the work of the artists. The main goal of the three books that will make up the series is to encourage and help readers to further discover and interpret the Old Masters' work and the locations in which they lived.
For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility-not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art. Published for the Paul Mellon Centre for Studies in British Art
One of the most imaginative and fascinating artists of eighteenth-century France, Edme Bouchardon (1698-1762) was instrumental in the transition from Rococo to Neoclassicism and in the artistic rediscovery of classical antiquity. Much celebrated in his time, Bouchardon created some of the most iconic images of the age of Louis XV. His oeuvre demonstrates a remarkable variety of themes (from copies after the antique to subjects of history and mythology, portraiture, anatomical studies, ornament, fountains and tombs), media (drawings, sculptures, medals, prints), and techniques (chalk, plaster, wax, terracotta, marble, bronze). This lavishly illustrated publication represents an unprecedented and thorough survey on this major and unique artist from the Age of Enlightenment, offering in-depth scholarship based on unpublished material detailing the subtle relationship between, as well as the relative autonomy of, the artist's two careers as a sculptor and a draftsman.
A new approach to late Ottoman visual culture and its place in the world With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque-the first English-language book on the topic-UEnver Rustem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire's capital. Rustem reclaims the label "Ottoman Baroque" as a productive framework for exploring the connectedness of Istanbul's eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style's cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans' entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire's power at a time of intensified East-West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom. Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history.
Originally published in 1995. In The Beautiful, Novel, and Strange, Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty-worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange. Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers.
In the latter half of the 18th century, Johannes Wiedewelt (1731-1802) played a pivotal role in introducing an early form of Neoclassicism into Danish sculpture by creating a large number of monuments for many different purposes. In the 1750s, he studied in Paris and Rome, where he became part of an international network of pioneering artists and scholars, including J.J. Winckelmann. In Denmark, Wiedewelt endeavored to translate the ancient idiom in statuary and monuments into an 'eternal' national monument style. This volume reassesses Wiedewelt's role in the service of art, art theory, academic education, design, etc. Special emphasis is placed on his studies of Classical Antiquity and Danish prehistoric and medieval monuments, which makes him particularly interesting for the history of archaeology. This is the first book-length study of Johannes Wiedewelt in English.
He was one of the last great court artists and at the same time a significant trailblazer for modern art: Francisco de Goya. The Fondation Beyeler is preparing one of the most extensive exhibitions of his work outside of Spain. In his more than sixty-year-long career, Goya was an astute observer of the drama of reason and irrationality, of dreams and nightmares. His pictures show things that go beyond social conventions: he depicts saints and criminals, witches and demons, breaking open the gates to realms where the boundaries between reality and fantasy blur. The show gathers more than seventy paintings, around sixty masterful drawings, and a selection of prints that invite the viewer to an encounter with the beautiful, as well as the incomprehensible. The extensive catalogue examines Goya's unique artistic impact in texts by renowned interpreters, and splendid photo galleries.
Winner of the 2022 Roland H. Bainton Book Prize from the Sixteenth Century Society & Conference In 1578, a fourteen-foot linen sheet bearing the faint bloodstained imprint of a human corpse was presented to tens of thousands of worshippers in Turin, Italy, as one of the original shrouds used to prepare Jesus Christ’s body for entombment. From that year into the next century, the Shroud of Turin emerged as Christianity’s preeminent religious artifact. In an unprecedented new look, Andrew R. Casper sheds new light on one of the world’s most famous and controversial religious objects. Since the early twentieth century, scores of scientists and forensic investigators have attributed the Shroud’s mysterious images to painterly, natural, or even supernatural forces. Casper, however, shows that this modern opposition of artifice and authenticity does not align with the cloth’s historical conception as an object of religious devotion. Examining the period of the Shroud’s most enthusiastic following, from the late 1500s through the 1600s, he reveals how it came to be considered an artful relic—a divine painting attributed to God’s artistry that contains traces of Christ’s body. Through probing analyses of materials created to perpetuate the Shroud’s cult following—including devotional, historical, and theological treatises as well as printed and painted reproductions—Casper uncovers historicized connections to late Renaissance and Baroque artistic cultures that frame an understanding of the Shroud’s bloodied corporeal impressions as an alloy of material authenticity and divine artifice. This groundbreaking book introduces rich, new material about the Shroud’s emergence as a sacred artifact. It will appeal to art historians specializing in religious and material studies, historians of religion, and to general readers interested in the Shroud of Turin.
This is the first book to concentrate on Dutch Golden Age painter Frans Hals's highly innovative approach to male portraiture. Frans Hals is one of the greatest portrait painters of all time and, together with Rembrandt, is one of the most eminent seventeenth-century Dutch artists. Published to coincide with the Wallace Collection's exhibition of the same name, Frans Hals: The Male Portrait explores the artist's highly innovative approach to male portraiture, from the beginning of his career in the 1610s until the end of his life in 1666. Through pose, expression and virtuosic painterly technique, Hals revolutionised the male portrait into something entirely new and fresh, capturing and revealing his sitters' characters like no one else before him. This book includes the first in-depth study of Hals's great masterpiece, The Laughing Cavalier, from 1624. The extravagantly dressed young man, confidently posed with his left arm akimbo in the extreme foreground of the picture and seemingly penetrating into the viewer's space, has been charming audiences for over a century. Richly illustrated, Frans Hals: The Male Portrait situates The Laughing Cavalier within the artist's larger oeuvre and demonstrates how, at a relatively early point in his career, Hals was able to achieve this great masterpiece.
The English-language edition of Nathalie Ferlut and Tamia Baudouin's stunning biography of Artemisia Gentileschi, the trailblazing Italian baroque painter, originally published in French. This full-color graphic novel recounts the remarkable story of Artemisia, whose life story is told through the lens of Artemisia's daughter as she questions her mother about their family history. The ensuing tale spans most of Gentileschi's life, beginning with her childhood in Rome in her father's painting studio, to the sexual abuse she experienced at the hands of a tutor and the arduous trial that followed, as well as the highlights of her prolific career in which she received commissions from clients as powerful as the Medici and the English royal family and became the first woman admitted to the prestigious Academy of Arts in Florence.
Rembrandt's Light brings together 35 carefully selected paintings that
focus on Rembrandt's mastery of light and visual storytelling,
concentrating on his greatest years from 1639-1658, when he lived in
his ideal house at Breestraat in the heart of Amsterdam (today the
Museum Het Rembrandthuis). Its striking, light-infused studio was the
site for the creation of Rembrandt's most exceptional paintings, prints
and drawings including 'The Denial of St Peter' and 'The Artist's
Studio'.
What a shock it must have been for the Utrecht painters Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen when they first encountered the breathtaking and unconventional paintings of Caravaggio in Rome. This volume shows impressively how the young artists individually explored this role model and thereby developed their own individual style. In around 1600 Rome was the centre of the world. Attracted by Caravaggio's spectacular success, young artists from all over Europe converged on the bus tling metropolis. The up-and-coming painters studied the same works, discussed matters with each other and used Caravaggio's style to develop their own individual pictorial language. Tracing the careers of the three most important Utrecht Caravaggists, the authors describe the atmosphere of this artistic mood of renewal. Only in a comparison with their European fellow artists does it become evident how strongly the Dutch tradition, with its love of merciless realism, influenced the creative work of the Utrecht painters.
A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598-1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti-the master of the previous age. Bernini's Michelangelo is the first comprehensive examination of Bernini's persistent and wide-ranging imitation of Michelangelo's canon (his art and its rules). Prevailing accounts submit that Michelangelo's pervasive, yet controversial, example was overcome during Bernini's time, when it was rejected as an advantageous model for enterprising artists. Carolina Mangone reconsiders this view, demonstrating how the Baroque innovator formulated his work by emulating his divisive Renaissance forebear's oeuvre. Such imitation earned him the moniker "Michelangelo of his age." Investigating Bernini's "imitatio Buonarroti" in its extraordinary scope and variety, this book identifies principles that pervade his production over seven decades in papal Rome. Close analysis of religious sculptures, tomb monuments, architectural ornament, and the design of New Saint Peter's reveals how Bernini approached Michelangelo's art as a surprisingly flexible repertory of precepts and forms that he reconciled-here with daring license, there with creative restraint-to the aesthetic, sacred, and theoretical imperatives of his own era. Situating Bernini's imitation in dialogue with that by other artists as well as with contemporaneous writings on Michelangelo's art, Mangone repositions the Renaissance master in the artistic concerns of the Baroque from peripheral to pivotal. Without Michelangelo, there was no Bernini.
Prophet, poet, painter and engraver -- Blake's uniqueness lies in no single achievement, but in the whole of what he was, which is more than the sum of all that he did. So writes Kathleen Raine in this classic study of William Blake, a man for whom the arts were not an end in themselves, but expressed his vision of the spiritual drama of the English national being. Profusely illustrated, this volume presents a comprehensive view of Blake's artistic achievements and a compelling and moving portrait of the life and thought of an extraordinary genius.
Marking a crucial turning point in Caravaggio's life and artistic development, the Crucifixion of Saint Andrew exemplifies the artist's famous tenebristic style, developed during his rise to fame in Rome, and simultaneously signals a new, grittier realism in his work. Inspired both by a Spanish patron and by the urban topography of Naples, a city three times the size of Rome in Caravaggio's day, the Crucifixion of Saint Andrew became a mobile portent of Caravaggio's stylistic revolution when the viceroy brought it with him to Valladolid in 1610. Recounting the complex history of this masterwork and its understudied position in Caravaggio's oeuvre, this book reveals the ways in which the Crucifixion of Saint Andrew functioned first as a devotional aid and subsequently as a harbinger of Caravaggism abroad.
According to recent research, Rubens is the most well known Flemish master in the entire world. Following Masterpiece: Hieronymus Bosch, Masterpiece: Peter Paul Rubens shows the paintings of this Flemish master as never seen before. With amazing details and full-page images this is an attractively priced pocket-size guide. There is a commentary on the images by Till-Holger Borchert, the director of Musea Brugge.
These ground-breaking essays, all based on original archival research, consider the evolving interest in Bolognese art in seventeenth-century Italy, particularly focusing on the period after the death of Guido Reni in 1642. Edited by Bolognese specialists Raffaella Morselli and Babette Bohn, the studies collected here focus on the taste for Bolognese art within Bologna itself and in other parts of the Italian peninsula, including Mantua, Ferrara, Rome, and Florence. Essays examine the roles of gender, class, and the social status of the artist in early modern Bologna; approaches to exhibiting artworks in noble Bolognese collections; the reputations of local women artists; the popularity of Bolognese quadratura painting; and the relative success of both contemporary and earlier Bolognese artists with Italian collectors.
Three texts by two Italian Renaissance painters - Leonardo da Vinci and Gian Paolo Lomazzo - and a compendium of the 53 standard pigments commonly found on artists' palettes for painting in oil on panel and on canvas as outlined by the writer, Raffaello Borghini, make up this 16th century collection of pigments. Leonardo's studio advice on the use of colours for capturing light and dark picks up this theme from Italian 15th century and classical painting and lays the foundation for this practice as it would develop in European painting. The plates are of works by Titian found in the National Gallery in London, whose pigments have been identified and matched to the paintings. |
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