Written over a period of years by the leader of the Plymouth Colony in Massachusetts, William Bradford, Of Plymouth Plantation is the single most complete authority for the story of the Pilgrims and the early years of the Colony they founded. Written between 1620 and 1647, the journal describes the story of the Pilgrims from 1608, when they settled in the Netherlands through the 1620 Mayflower voyage, until the year 1647.Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.

"Medieval Renaissance Baroque" celebrates Marilyn Aronberg Lavin's breakthrough achievements in both the print and digital realms of art and cultural history. Fifteen friends and colleagues present tributes and essays that reflect every facet of Lavin's brilliant career. Tribute presenters include Ellen Burstyn, Langdon Hammer, Phyllis Lambert, and James Marrow. Contributors include Kirk Alexander, Horst Bredekamp, Nicola Courtright, David Freedberg, Jack Freiberg, Marc Fumaroli, David A. Levine, Daniel T. Michaels, Elizabeth Pilliod, Debra Pincus, and Gary Schwartz. 230 pages, 79 illustrations, bibliography of Marilyn Lavin's works, preface, index.

The State Hermitage Museum in St. Petersburg houses a relatively small but choice collection of 16th- to 19th-century British paintings, among them Thomas Gainsborough's vibrant Portrait of a Lady in Blue (c. 1770) and his rival Sir Joshua Reynolds' vast Infant Hercules Strangling the Serpents (c. 1786), commissioned by the Russian Empress Catherine II and symbolizing a young Russia's growing strength. 135 paintings-works by artists from England, Ireland, Scotland, and Wales-are presented in this comprehensive catalogue. Also included are portraits from the famed War Gallery created by English painter George Dawe, who was awarded a prestigious commission to produce more than 300 images of Russian generals for the Gallery of 1812 in the historic Winter Palace, now part of the museum complex. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press and the State Hermitage Museum

Meditations on the paradoxes generated around the ending of western slavery. In his tour-de-force ""Blind Memory"", Marcus Wood read the visual archive of slavery in eighteenth- and nineteenth-century America and Britain with a closeness and rigor that until then had been applied only to the written texts of that epoch. ""Blind Memory"" changed the way we look at everything from a Turner seascape to a crude woodcut in a runaway slave advertisement. ""The Horrible Gift of Freedom"" brings the same degree of rigor to an analysis of the visual culture of Atlantic emancipation. Wood takes a troubled and troubling look at the iconography inspired by the abolition of slavery across the Atlantic diaspora. Why, he asks, did imagery showing the very instant of the birth of black slave freedom invariably personify Liberty as a white woman? Where did the image of the enchained kneeling slave, ubiquitous in abolitionist visual culture on both sides of the Atlantic, come from? And, most important, why was freedom invariably depicted as a gift from white people to black people? In order to assess what the inheritance of emancipation imagery means now and to speculate about where it may travel in the future, Wood spends the latter parts of this book looking at the 2007 bicentenary of the 1807 Slave Trade Abolition Act. In this context a provocative range of material is analyzed including commemorative postage stamps, museum exhibits, street performances, religious ceremonies, political protests, and popular film. By taking a new look at the role of the visual arts in promoting the 'great emancipation swindle', Wood brings into the open the manner in which the slave power and its inheritors have single-mindedly focused on celebratory cultural myths that function to diminish both white culpability and black outrage. This book demands that the living lies developed around the memory of the emancipation moment in Europe and America need to be not only reassessed but demolished.

The Paston Treasure, a spectacular painting from the 1660s now held at Norwich Castle Museum, depicts a wealth of objects from the collection of a local landed family. This deeply researched volume uses the painting as a portal to the history of the collection, exploring the objects, their context, and the wider world they occupied. Drawing on an impressive range of fields, including history of art and collections, technical art history, musicology, history of science, and the social and cultural history of the 17th century, the book weaves together narratives of the family and their possessions, as well as the institutions that eventually acquired them. Essays, vignettes, and catalogue entries comprise this multidisciplinary exposition, uniting objects depicted in the painting for the first time in nearly 300 years. Published in association with the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (02/15/18-05/27/18) Norwich Castle Museum & Art Gallery (06/23/18-09/23/18)

This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.

A fascinating exploration of the role of music in the art of Vermeer and many of his contemporaries Johannes Vermeer (1632-1675) is one of the world's most captivating artists. Renowned for his sublimely beautiful depictions of everyday Dutch life, Vermeer created exquisite paintings that are sought out by any art lover. Music was a key facet of 17th-century Dutch life, in both public and private. Of Vermeer's thirty-six surviving paintings, twelve depict musical themes or a musical instrument. These include the magnificent Young Woman Standing at a Virginal, Young Woman Seated at a Virginal, The Music Lesson, and The Guitar Player, all featured in this book. The book also includes paintings by Vermeer's contemporaries, such as Gerard ter Borch (1617-1681), Gabriel Metsu (1629-1667), and Jan Steen (c. 1626-1679). Vermeer and Music provides new insight into the cultural significance of these images. A historical overview of musical instruments and entertainment in the Dutch Republic, including the abundant publication of songbooks filled with love songs and poems, some richly illustrated, contextualizes the fascinating relationship between music and the visual arts. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London(06/26/13-09/08/13)

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.

Originally published London, 1924. Contents Include: The Serenade at Caserta - "Les Indes Galantes" - The King and the Nightingale - Biography etc. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The Haukohl Family stands in the wake of a lasting tradition of European and American collecting practices for the benefit of future generations. Published to accompany an exhibition at the Luxembourg National Museum of Art, October 2018 to February 2019. For six generations the Haukohls have collected art, rare books, drawings, sculpture and textiles. It has been the fulfilling result of a Milwaukee-based American Midwestern family who has had equal determination and always with an eye towards acquiring fine art for the benefit of the future generations. This book presents masterworks of Italian painting and sculpture from the 16th through 18th centuries drawn from the largest private American collection of Florentine Baroque painting, featuring works by key artists such as Cesare Dandini, Jacopo da Empoli, and Francesco Furini.

Salomon de Caus has been viewed as, variously, a Protestant martyr, the unsung inventor of the steam engine, one of the most important early hydraulic engineers, and a garden designer whose work was influenced by astrology and hermeticism. The first comprehensive book on this protean figure, Nature as Model sifts through historical material, Caus's own writings, and his extant landscape designs to determine what is fact and what is fiction in the life of this polymathic and prolific figure. In doing so, it clarifies numerous hitherto unresolved problems in his biography and historiography. As Luke Morgan shows, Caus made important contributions to some of the most significant landscape projects of his period, including the gardens of Coudenberg Palace in Brussels, Richmond Palace, Hatfield House, Somerset House, Greenwich Palace in London, as well as, most famously, the Hortus Palatinus in Heidelberg, which he designed for the Elector Palatine, Frederick V, and his wife, Elisabeth Stuart, daughter of James I of England. In his work, Caus drew on his intimate knowledge of the late sixteenth-century Italian garden, and through his commissions the design principles and motifs of the late Renaissance garden were transmitted across Europe. The book is a masterful exercise in historical reconstruction, showing how Caus has been read by subsequent generations intent on nationalism, romance, or magic. Morgan investigates the ways in which the early modern garden actually generated meaning through conventional motifs rather than through esoteric narrative programs.

Between 1796 and 1800 Baron Peter von Braun, a rich businessman and manager of Vienna's court theaters, transformed his estate at Schnau into an English-style landscape park. Among several buildings with which he embellished his garden, the most remarkable and celebrated was the Temple of Night, a domed rotunda accessible only through a meandering rockwork grotto that led visitors to believe that their destination lay somewhere deep underground. A life-size statue of the goddess Night on a chariot pulled by two horses presided over the Temple, while from the dome, which depicted the night sky, came the sounds of a mechanical musical instrument that visitors likened to music of the spheres. Only the ruins of the Temple of Night survive, and it has received little scholarly attention. This book brings it back to life by assembling the many descriptions of it by early nineteenth-century eyewitnesses. Placing the Temple within the context of the eighteenth-century English landscape park and of Viennese culture in the fascinating period of transition between Enlightenment and Biedermeier, Rice's book will appeal to anyone interested in the history of garden design, architecture, theater, and music.

Originally published London, 1924. Contents Include: The Serenade at Caserta "Les Indes Galantes" The King and the Nightingale Biography etc. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The Return of the Baroque in Modern Culture explores the re-invention of the early European Baroque within the philosophical, cultural, and literary thought of postmodernism in Europe, the United States, the Caribbean, and Latin America. Gregg Lambert argues that the return of the Baroque expresses a principle often hidden behind the cultural logic of postmodernism in its various national and cultural incarnations, a principal often in variance with Anglo-American modernism. Writers and theorists examined include Walter Benjamin, Paul de Man, Jacques Derrida, Michel Foucault, Octavio Paz, and Cuban novelists Alejo Carpentier and Severo Sarduy. A highly original and compelling reinterpretation of modernity, The Return of the Baroque in Modern Culture answers Raymond WilliamsGCO charge to create alternative national and international accounts of aesthetic and cultural history in order to challenge the centrality of Anglo-American modernism.

1924. These essays on Baroque Art constitute more than merely a book of music and art criticism. They are an attempt at a recreation, through a consideration of its artistic expression, of the civilization of seventeenth and eighteenth century Spain and Italy. The more famous names are deliberately omitted, the artists considered being the many lesser masters about whom the critical exegesis has not yet raged, and whose names are for the most part unfamiliar even to those with some pretensions to a knowledge of the period. It is through his analysis of the common motive force which actuated the productions of these men that Mr. Sitwell has arrived at an interpretation of the art and the spiritual life of the time to which a book of purely formal criticism might perhaps never have brought him. The book is in this way complementary to all the existing literature on the subject, and it provides an extremely valuable and definitive study of Baroque Art both for the student and the general reader. The wonders that the author describes are confirmed by the plates with which the work is illustrated.

An impressive overview of drawing in Venice, from the time of Titian and Tintoretto to that of Canaletto and Tiepolo From the time of Titian and Tintoretto to that of Canaletto and Tiepolo, drawing was an important part of artistic practice and was highly valued in Venice. This exciting new study overturns traditional views on the significance of drawing in Venice, as an art and an act, from the Renaissance to the age of the Grand Tour. Gathering together the separate strands of theory, artistic practice, and collecting, Catherine Whistler highlights the interactions and tensions between a developing literary discourse and the practices of making and collecting graphic art. Her analysis challenges the conventional definition of Venetian art purely in terms of color, demonstrating that 16th-century Venetian artists and writers had a highly developed sense of the role and importance of disegno and drawing in art. The book's generous illustrations support these striking arguments, as well as conveying the great variety, interest, and beauty of the drawings themselves.

This third volume in the Frick Diptych series offers fresh insight into a pair of candelabra that represent the pinnacle of luxury and taste in the years prior to the French Revolution. Vignon tells the fascinating story of these objects that are made of two small white vases with extraordinary gilt-bronze mounts by Pierre Gouthiere, the celebrated eighteenth-century French chaser and gilder. Vignon's essay is paired with a text by De Waal in which he examines what it is to make, own, and desire such complex objects

The first modern history of St James's Palace, shedding light on a remarkable building at the heart of the history of the British monarchy that remains by far the least known of the royal residences In this first modern history of St James's Palace, the authors shed new light on a remarkable building that, despite serving as the official residence of the British monarchy from 1698 to 1837, is by far the least known of the royal residences. The book explores the role of the palace as home to the heir to the throne before 1714, its impact on the development of London and the West end during the late Stuart period, and how, following the fire at the palace of Whitehall, St James's became the principal seat of the British monarchy in 1698. The arrangement and display of the paintings and furnishings making up the Royal Collection at St James's is chronicled as the book follows the fortunes of the palace through the Victorian and Edwardian periods up to the present day. Specially commissioned maps, phased plans, and digital reconstructions of the palace at key moments in its development accompany a rich array of historical drawings, watercolors, photographs, and plans. The book includes a foreword by His Royal Highness The Prince of Wales. Published in association with Royal Collection Trust

Building or rebuilding their houses was one of the main concerns of the English nobility and gentry, some might say their greatest achievement. This is the first book to look at the building of country houses as a whole. Creating Paradise shows why owners embarked on building programmes, often following the Grand Tour or excursions around other houses in England; where they looked for architectural inspiration and assistance; and how the building work was actually done. It deals not only with great houses, including Holkham and Castle Howard, but also the diversity of smaller ones, such as Felbrigg and Dyrham, and shows the cost not only of building but of decorating and furnishing houses and of making their gardens. Creating Paradise is an important and original contribution to its subject and a highly readable account of the attitude of the English ruling class to its most important possession.

Rembrandt van Rijn (1606-69), the son of a well-to-do miller from the university town of Leiden, was by the age of 26 Holland's most celebrated painter and has remained an artist of universal appeal. Rembrandt made his name in Amsterdam, capital of the newly independent Dutch Republic and, as the centre of a global trade empire, a magnet for merchants, writers and artists. No one understood its possibilities better than Rembrandt, or captured its personalities and landscapes more memorably. Whether tracing the highs and lows of Rembrandt's career or explaining the unique qualities of his work, Mariet Westermann's book is always lucid and perceptive. Based on the latest Rembrandt research, it demonstrates splendidly how a contextual study can stimulate the reader's delight in the art itself.

The desire for things which are inspired by, imitate, or indeed are Greek, or Greco-Roman has been felt throughout history. The twenty contributions in this volume explore the presence and diffusion of what they term 'The Classical Taste' from the 5th century BC to the 20th century focusing on the methods and media through which this occurs. Including discussions on vase painting, ancient gems, the image of Alexander the Great, Roman medallions, cameos, statuettes and portraits, and the reception of Classicism in the medieval, Renaissance and modern periods.

This richly illustrated book examines the making of one of the earliest modern catalogues--"La galerie electorale de Dusseldorff." Published in 1778, the revolutionary two-volume publication showcases one of the most important European painting collections of the eighteenth century, reflecting a pivotal moment in the history of art as well as the history of the art museum. In two essays, the authors analyze the process by which the catalogue was produced and shed light on the historical and cultural context that gave rise to an innovative and didactic way of displaying paintings--and, by extension, to art history as a discipline. The volume accompanies an exhibition of the same name to be held at the Getty Research Institute from May 31 to August 21, 2011.

This is a comparative study of the national significance of the classical revival which marked English and French art during the second half of the nineteenth century. It argues that the main focus of artists' interest in classical Greece, was the body of the Greek athlete. It explains this interest, first, by artists' contact with the art of Pheidias and Polycletus which portrayed it; and second, by the claim, made by physical anthropologists, that the classical body typified the race of the European nations.