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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
Business leader and arts patron Sir Edwin A. G. Manton (1909-2005)
and his wife Florence, Lady Manton, assembled an outstanding
collection of 18th- and 19th-century British art. A gift to the
Clark Art Institute from the Manton Foundation in 2007, their
collection features more than three hundred oil paintings,
watercolors, drawings, and prints, including works by John
Constable, J. M. W. Turner, Thomas Gainsborough, and William Blake.
In a series of wide-ranging essays, prominent scholars consider the
major works and themes in the collection, relating them to larger
issues within the field of British studies. Individual essays are
devoted to Constable's oil sketches, cloud studies, and magisterial
painting The Wheat Field; the growth of the watercolor tradition;
print portfolios and narrative series; Thomas Rowlandson's satiric
drawings; and Gainsborough's use of experimental materials as
revealed through recent scientific analysis. The volume concludes
with an illustrated checklist of the works in the collection.
Distributed for the Sterling and Francine Clark Art Institute
This book examines the links between the unprecedented visual
inventiveness of the Romantic period in Britain and
eighteenth-century theories of the sublime. Edmund Burke's
Philosophical Enquiry into the Origin of our Ideas of the Sublime
and Beautiful (1757), in particular, is shown to have directly or
indirectly challenged visual artists to explore not just new
themes, but also new compositional strategies and visual media such
as panoramas and book illustrations, by arguing that the sublime
was beyond the reach of painting. More significantly, it began to
call into question mimetic representational models, causing artists
to reflect about the presentation of the unpresentable and drawing
attention to the process of artistic production itself, rather than
the finished artwork. -- .
A lively thematic survey of eighteenth and nineteenth-century architecture and its extreme diversity within the context of tremendous social, economic and political upheaval. Bergdoll traces key themes the role of changing theories of history in architecture, the impact of scientific methods, and the response to broadening audiences through examples taken from across European architecture. Key developments in architectural history and urban design are related to the most experimental forms that architecture took from Neoclassicism to the Art Nouveau.
Framed by tensions between figural sculpture experienced in the
round and its translation into two-dimensional representations,
Animating the Antique explores enthralling episodes in a history of
artistic and aesthetic encounters. Moving across varied
locations-among them Rome, Florence, Naples, London, Dresden, and
Paris-Sarah Betzer explores a history that has yet to be written:
that of the Janus-faced nature of interactions with the antique by
which sculptures and beholders alike were caught between the
promise of animation and the threat of mortification. Examining the
traces of affective and transformative sculptural encounters, the
book takes off from the decades marked by the archaeological,
art-historical, and art-philosophical developments of the
mid-eighteenth century and culminantes in fin de siecle
anthropological, psychological, and empathic frameworks. It turns
on two fundamental and interconnected arguments: that an
eighteenth-century ontology of ancient sculpture continued to
inform encounters with the antique well into the nineteenth
century, and that by attending to the enduring power of this model,
we can newly appreciate the distinctively modern terms of antique
sculpture's allure. As Betzer shows, these eighteenth-century
developments had far-reaching ramifications for the making and
beholding of modern art, the articulations of art theory, the
writing of art history, and a significantly queer Nachleben of the
antique. Bold and wide-ranging, Animating the Antique sheds light
upon the work of myriad artists, in addition to that of writers
ranging from Goethe and Winckelmann to Hegel, Walter Pater, and
Vernon Lee. It will be especially welcomed by scholars and students
working in eighteenth- and nineteenth-century art history, art
writing, and art historiography.
This classic survey of Italian Baroque art and architecture focuses
on the arts in every center between Venice and Sicily in the early,
high, and late Baroque periods. The heart of the study, however,
lies in the architecture and sculpture of the exhilarating years of
Roman High Baroque, when Bernini, Borromini, and Cortona were all
at work under a series of enlightened popes. Wittkower's text is
now accompanied by a critical introduction and substantial new
bibliography. This edition will also include color illustrations
for the first time. This is the third book in the three volume
survey.
Spirited Prospect: A Portable History of Western Art from the
Paleolithic to the Modern Era is a lively, scholarly survey of the
great artists, works, and movements that make up the history of
Western art. Within the text, important questions are addressed:
What is art, and who is an artist? What is the West, and what is
the Canon? Is the Western Canon closed or exclusionary? Why is it
more important than ever for individuals to engage and understand
it? Readers are escorted on a concise, chronological tour of
Western visual culture, beginning with the first art produced
before written history. They learn about the great ancient cultures
of Egypt, Mesopotamia, Greece, and Italy; the advent of
Christianity and its manifestations in Byzantine, Medieval,
Renaissance, and Baroque art; and the fragmentation of old
traditions and the proliferation of new artistic choices that
characterize the Enlightenment and the Modern Era. The revised
second edition features improved formatting, juxtaposition, sizing,
and spacing of images throughout. Spirited Prospect is an ideal
textbook for introductory courses in the history of art, as well as
courses in studio art and Western civilization at all levels.
The Rawlinson collection of seal matrices in the University of
Oxford is the most important early collection of European seal
matrices to survive. Created by Dr Richard Rawlinson (1690-1755) in
the first half of the eighteenth century, it consists of 830
matrices ranging in date from the 13th to the early 18th century.
It includes the collection of seal matrices formed by Giovanni
Andrea Lorenzani, a Roman bronze caster, which Rawlinson acquired
in Rome together with a catalogue written in 1708. This collection
is primarily Italian, but the Rawlinson collection also includes
examples from many other countries England, Wales, Scotland,
Ireland, France, Germany Spain, and Scandinavia as well as Italy.
The study of seals was much neglected in the middle of the
twentieth century, but the study now attracts greater interest.
This is due to their visual appeal, sense of identity and their
representation of symbols. This book will appeal to a wide variety
of readers from those interested in collecting, Jacobitism, history
of the early eighteenth century, the Grand Tour, antiquaries, and
seals and seal matrices. This book has four introductory chapters
which set the scene for the collecting of seal matrices, tell the
life of Richard Rawlinson and Giovanni Andrea Lorenzani, analyse
their collections and relate the history of the collection after
Rawlinson's death in 1755. One hundred seals, all illustrated, are
described in detail, with much unpublished data, and an indication
is given of the contribution they make to the sigillography of the
different countries.
The Kunstkammer was a programmatic display of art and oddities
amassed by wealthy Europeans during the sixteenth to the eighteenth
centuries. These nascent museums reflected the ambitions of such
thinkers as Descartes, Locke, and Kepler to unite the forces of
nature with art and technology. Bredekamp advances a radical view
that the baroque Kunstkammer is also the nucleus of modern
cyberspace.
The Golden Age in Holland and Flanders roughly spanned the 17th
century and was a period of enormous advances in the fields of
commerce, science-and art. Still lifes, landscape paintings, and
romantic depictions of everyday life became valued by the
increasingly wealthy merchant classes in the Dutch provinces, while
religious and historic paintings as well as portraits continued to
appeal to the Flemish patronage. The Golden Age brought us
Rembrandt, Vermeer, Rubens, and Van Dyck, but it was also the
period of Frans Hals' revolutionary portraiture, Adriaen Brouwer's
depictions of the working class at play, Jan Brueghel's velvety
miniatures, and Hendrick Avercamp's lively winter landscapes.
Norbert Wolf applies his vast understanding of the interplay
between history, culture, and art to explore the forces that led to
the Golden Age in Holland and Flanders and how this period
influenced later generations of artists. Accompanied by luminous
color illustrations, Wolf's accessible text considers the complex
political, religious, social, and economic situation that led to
newfound prosperity and, thus, to an enormous artistic output that
we continue to marvel at and enjoy today.
This pioneering book chronicles the transformation of public art in
eighteenth-century France. As royal and ecclesiastical authority
waned under the rule of Louis XV, there emerged nascent democratic
institutions, a new metaphysics, and a radical political
consciousness--a paradigm shift that profoundly marked the forms
that commemorative sculpture and architecture took. As a French
Catholic heritage gave way to more civic-minded and secular views
of posterity, how was the monument reinterpreted? How did works by
Clodion, Jean-Antoine Houdon, Augustin Pajou, Marie-Joseph Peyre,
and Jacques Germain Soufflot, among others, speak to the aesthetic
philosophies of Denis Diderot, Jean-Jacques Rousseau, and Voltaire?
Analyzing an extraordinary range of artistic projects--from
unrealized plans for a Bourbon memorial to the sculptural program
for the Pantheon--Erika Naginski appraises how the Enlightenment
art of res publica intersected with historical forces, social
movements, and continental philosophies that brought Western
culture to the cusp of modernity.
The Academie Royale assembled nearly all of the important French
artists working at the time, maintained a virtual monopoly on
teaching and exhibitions, enjoyed a priority in obtaining royal
commissions, and deeply influenced the artistic landscape in
France. Yet the institution remains little understood today: all
commentary on it, during its existence and since its abolition, is
based on prejudices, both favourable and critical, that have shaped
the way the institution has been appraised. This book takes a
different approach. Rather than judging the Academie Royale, Michel
unravels existing critical discourse to consider the nuances and
complexities of the academy's history, re-examining its goals, the
shifting power dynamics both within the institution and in the
larger political landscape, and its relationship with other French
academies and guilds.
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Sacred Painting. Museum
(Hardcover)
Federico Borromeo; Edited by Kenneth S. Rothwell; Introduction by Pamela M. Jones; Notes by Pamela M. Jones
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R787
Discovery Miles 7 870
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Ships in 12 - 17 working days
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Federico Borromeo, Cardinal-Archbishop of Milan (1564 1631), is
well known as a leading Catholic reformer and as the founder of the
Ambrosiana library, art collection, and academy in that city. Less
known is the fact that the institution's art museum was the
culmination of many decades of reflection on the aesthetic
qualities and religious roles of art. Borromeo recorded his
reflections in two treatises.
De pictura sacra (Sacred Painting, 1624) laid out the rules that
artists should follow when creating religious art. Borromeo touched
on dozens of iconographical issues and in so doing drew on his deep
knowledge not only of church fathers, councils, and scripture but
also of classical art and literature. In Musaeum (1625) Borromeo
showed a less doctrinaire and more personal side by walking the
reader through the Ambrosiana and commenting on specific works in
his collection. He offered some of the earliest and most important
critiques to survive on works by artists such as Leonardo, Titian,
and Jan Brueghel the Elder.
This volume offers, for the first time, translations of the
treatises directly into English as well as freshly edited Latin
texts, an introduction, extensive notes, and an appendix on the
Academy of Design that was established in conjunction with the
museum. These treatises will be of great interest to students of
the history of art, museums, and religion.
A sweeping survey of the arts of Ireland spanning 150 years and an
astonishing range of artists and media This groundbreaking book
captures a period in Ireland's history when countless foreign
architects, artisans, and artists worked side by side with their
native counterparts. Nearly all of the works within this remarkable
volume-many of them never published before-have been drawn from
North American collections. This catalogue accompanies the first
exhibition to celebrate the Irish as artists, collectors, and
patrons over 150 years of Ireland's sometimes turbulent history.
Featuring the work of a wide range of artists-known and unknown-and
a diverse array of media, the catalogue also includes an impressive
assembly of essays by a pre-eminent group of international experts
working on the art and cultural history of Ireland. Major essays
discuss the subjects of the Irish landscape and tourism, Irish
country houses, and Dublin's role as a center of culture and
commerce. Also included are numerous shorter essays covering a full
spectrum of topics and artworks, including bookbinding, ceramics,
furniture, glass, mezzotints, miniatures, musical instruments,
pastels, silver, and textiles. Distributed for the Art Institute of
Chicago Exhibition Schedule: The Art Institute of Chicago
(03/17/15-06/07/15)
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.
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