Rubens's The Crucifixion of Saint Peter still hangs today in the location for which it was created, in the parish church of St. Peter in Cologne. Thanks to the beneficence of the merchant Eberhard III Jabach and his wife, Anna Reuter, the painter from Antwerp produced this final, very personal picture. Until today, The Crucifixion of Saint Peter continues to be shown in the location for which it was created. The occasion for an in-depth inter-disciplinary engagement with this work was an examination of its condition, which led to the current examinations and the restoration of the work. Rubens's The Crucifixion of Saint Peter is being honored for the first time with a monographic study that brings together insights from history, iconography, arthistorical context, and the work technique.

Russian architect and draughtsman Sergei Tchoban has always striven to understand the laws which govern the development of cities such as his native St Petersburg and the great prototypes in whose image it was created. But is it possible to preserve such cities' outstanding quality today? Can we pursue this quality now, at the current stage of development of architecture? This catalogue poses these central questions. It accompanies an exhibition of Tchoban's work at the Istituto Centrale per la Grafica in Rome, scheduled to take place from October 2020 to January 2021. It also marks the 300th anniversary of the birth of Giovanni Battista Piranesi: Tschoban inserts emphatically futuristic structures into the Italian artist's eighteenth-century Roman street scenes. Do such works constitute ruined masterpieces or imprints of the future? Is harmony being destroyed or is a fundamentally new type of harmony being created? Tchoban believes that a similar transformation of the European city has been happening for at least a century and that society must finally work out how to relate to this process. Essentially, Piranesi's true legacy is a call to an honest conversation regarding the layers and parts that constitute the European city as both a highly important piece of our heritage and a space for future development.

Der heutige Museumsbesucher orientiert sich an eingeubten Verhaltensmustern, die eine eigene Geschichte haben. In dieser Studie wird am Beispiel der Jahresausstellungen der koeniglichen Kunstakademie im Louvre untersucht, wie sich Normen einer oeffentlichen Kunstbetrachtung im Zeitalter der Aufklarung etablierten und schliesslich hinterfragt wurden. Erstmalig wird auf Basis eines umfassenden und kritischen Quellenstudiums herausgearbeitet, wie sich das Verstandnis von einem passiv bewundernden hin zu einem kreativ (mit)gestaltenden, koerperlich wie emotional bewegten Bildbetrachter entwickelte. Die genaue Analyse der sich wandelnden Diskurse uber Rezeptionsgewohnheiten, die in Texten und Bildern der Zeit sichtbar werden, vermag auch den Blick auf "moderne" Rezeptionsbedingungen zu scharfen.

Harvard College's 18th-century Philosophy Chamber consisted of paintings, prints, sculptures, scientific instruments, natural specimens, and various indigenous artifacts-it was a rich and varied representation of not only artistic and cultural achievement but also contemporary understandings of the natural world. Dispersed and hidden away for nearly 200 years, this unrivaled collection has been reunited for the first time since it was originally assembled, providing an invaluable window into the art and culture of early America. It attests to the wide-ranging spirit of inquiry that characterized the late 18th and early 19th centuries. With an insightful look at conservation efforts and detailed examination of specific objects, including works by artists such as John Singleton Copley and John Trumbull, this publication explores the social and political stakes that underpinned one of the most remarkable assemblages of artifacts, images, and objects in the Atlantic World, and introduces readers to many long-forgotten icons of American culture. Distributed for the Harvard Art Museums Exhibition Schedule: Harvard Art Museums (05/19/17-12/31/17) The Hunterian, University of Glasgow (03/23/18-06/24/18)

Known primarily as a great painter, Bartolome Esteban Murillo (1617-1682) was also one of the best draftsmen of the 17th century. Although his devotional paintings seem to have been created effortlessly, they are the result of careful thought and study, a process that comes alive in the preparatory drawings. Murillo used a variety of techniques, favoring pen and ink and brown wash and red-and-black chalk. Like painters schooled in Italian Renaissance practice, the Spaniard developed his paintings in stages, starting with sketches of the full composition and then focusing on details that posed specific problems. Occasionally, Murillo used drawings as a medium for original compositions; these are highly finished pieces, usually enhanced by the use of wash and unmistakably stamped with the artist's personality. This sumptuous book is a thoroughly revised edition of the 1976 publication Murillo & His Drawings. Twenty sheets have been added to the catalogue of authentic works, the bibliography has been brought up to date, and the entries have been revised. Published in association with Centro de Estudios Europa Hispanica, Madrid

Richard L. Feigen has amassed a collection of Italian paintings that is widely admired for its depth and quality, especially for the works it features by the principal masters of the early Italian Renaissance. This beautifully illustrated catalogue of the complete collection presents rare masterpieces by artists from Bernardo Daddi to Fra Angelico, Orazio Gentileschi's Danae, Annibale Carracci's Virgin and Child, and precious, small-scale coppers by major Mannerist and Baroque masters. Italian Paintings from the Richard L. Feigen Collection catalogues more than fifty major works from the 14th to the 17th century, and is the first publication of this remarkable and important collection. Published in association with the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery, New Haven (5/28/10-9/12/10)

"Geography of the Gaze" offers a new history and theory of how the way we look at things influences what we see. Focusing on Western Europe from the seventeenth to nineteenth centuries, Renzo Dubbini shows how developments in science, art, mapping, and visual epistemology affected the ways natural and artificial landscapes were perceived and portrayed.
He begins with the idea of the "view," explaining its role in the invention of landscape painting and in the definition of landscape as a cultural space. Among other topics, Dubbini explores how the descriptive and pictorial techniques used in mariners' charts, view-oriented atlases, military cartography, and garden design were linked to the proliferation of highly realistic paintings of landscapes and city scenes; how the "picturesque" system for defining and composing landscapes affected not just art but also archaeology and engineering; and how the ever-changing modern cityscapes inspired new ways of seeing and representing the urban scene in Impressionist painting, photography, and stereoscopy. A marvelous history of viewing, "Geography of the Gaze" will interest everyone from scientists to artists.

The late sixteenth and seventeenth centuries are frequently labeled the age of theater. Throughout western Europe, the dramatic arts attained new heights of cultural prestige, political importance, and commercial success. This series of essays investigates the dialogue between the newly invigorated theater and the plastic arts. Discussed are the interactions between spectator and spectacle, social performance and the staging of the individual, the shaping of space and time, and the debates over the relationship that visual and theatrical representations have to the objects they portray.

Zar Peter der Grosse legte 1714 nahe St. Petersburg den Grundstein zu Schloss Peterhof, dem "russischen Versailles", das zwei Jahrhunderte lang als Sommerresidenz der Zaren diente. Wahrend die Schlossbauten im Zweiten Weltkrieg beinahe vollstandig zerstoert wurden und bis heute aufwendig rekonstruiert werden, gelang es, viele der Kunst- und Ausstattungsgegenstande des Palastkomplexes zu evakuieren. Der Katalog stellt mit zahlreichen Abbildungen und Textbeitragen die im Augsburger Schaezlerpalais erstmals in Deutschland gezeigte Auswahl von weit uber 100 original erhaltenen Objekten russischer und westeuropaischer Provenienz aus Schloss Peterhof vor. Sie umfasst samtliche Gattungen der Kunst und des Kunsthandwerks und spiegelt damit die hoefische Kunst und Wohnkultur des 18. Jahrhunderts.

In 1778 Pierre Henri De Valenciennes, a young landscape painter from Toulouse, found himself in Rome with many other foreign artists intent on studying not only the ancient monuments and the works of the modern masters, but also to encounter Italy's light and landscape. Contrary to most of his companions, Valenciennes rarely copied ancient or modern works of art, but instead he chose to sketch views of Rome, 'a mix of antique and of modern, an assemblage of irregularity and symmetry'. The 96 pages of the sketchbook, reproduced in their actual size and accompanied by a commentary, guide us through Rome, from the river port of Ripa Grande to the basilica of St. John Lateran, from the Ponte Salario bridge to the Vatican, from Piazza Barberini to the Villa Borghese and along the banks of the river Tiber. An advocate of en plein air painting, Valenciennes' sketches use two or three tints of the same colour to trace the landscape of an ideal Rome, and to achieve this goal he did not hesitate to modify or move the surrounding architecture. Contents: Preface by Xavier Salmon, Director of the Prints and Drawings Department of the Louvre; Introduction; Travel to Italy and meeting with artists; Valenciennes' Italian Sketchbooks; Description of the organisation of Sketchbook RF 12966; Material Description; Provenance; List of Exhibitions, Bibliography. Text in French.

Der geburtige Mailander Camillo Rusconi (1658-1728) gilt als der bedeutendste roemische Bildhauer des Spatbarock. In dieser Studie widmet sich Frank Martin erstmalig grundlegend Rusconis beachtlichem OEuvre. Seine grossen Werkkomplexe, darunter die beruhmten Apostelstatuen in der Lateranbasilika in Rom, werden detailliert erlautert und in ihrem Entstehungskontext gedeutet. Die Schilderung von Rusconis kunstlerischer Karriere, die der einflussreiche Maler Carlo Maratti massgeblich befoerderte, gewahrt Einblick in die Mechanismen des roemischen Kunstbetriebs. Camillo Rusconi etablierte ein klassisch orientiertes Stilideal in der Skulptur, das in den Arbeiten seiner Schuler Filippo della Valle, Giovanni Battista Maini, Pietro Bracci sowie Giuseppe Rusconi fortlebte und sich vom hochbarocken Pathos Gian Lorenzo Berninis signifikant abhob. Das langst uberfallige kritische Werkverzeichnis sowie die Auswertung zahlreicher Quellen und Dokumente runden die Monographie ab. Damit erweist sich der Band als Standardwerk fur die Erforschung der Skulptur im 18. Jahrhundert.

Akademische Aktstudien widmen sich dem vornehmsten Gegenstand der Kunst uberhaupt: dem menschlichen Koerper in Ruhe und Bewegung. Diese grundlegende und normstiftende Kunstpraxis der Fruhen Neuzeit macht die Autorin mittels umfangreichem Material aus Rom, Paris und dem deutschsprachigen Raum in funf Werkgruppen zuganglich. Die Forschungsarbeit beinhaltet die zentralen Themenkreise der Theorie der akademischen Aktstudie: die Kunstlerausbildung, die Theorie der Nachahmung von Kunst und Natur, die experimentelle Praxis im Aktsaal, die Transformation akademischer Vorbilder, die zeichnerische Illusion von Lebendigkeit, das zeitgenoessische Idealbild des Menschen, die Simulation von Bewegung in der Pose sowie die Bedeutung der Posen fur die Kunstpraxis der Zeit.

Die Studie beschaftigt sich mit den tiefgreifenden Veranderungen von Materialien und Techniken der Malerei sowie den Verschiebungen asthetischer und wissenschaftlicher Vorstellungen zur Farbe zwischen 1750 und 1850. In dieser Zeitspanne ist ein Bruch mit der Tradition festzustellen, der dazu gefuhrt hat, dass die Gemalde nicht nur eine Vielfalt an Maltechniken und -materialien aufweisen, sondern auch ungewoehnliche Alterungsschaden offenbaren. Annik Pietsch untersucht, ob Interdependenzen zwischen den Schadensphanomenen und den Topoi, zwischen Praxis und Diskurs bestehen. Sie verfolgt den UEbergang von einer handwerklich orientierten uber eine wissenschaftlich reflektierte zu einer autonomiebetonten Malpraxis und zeichnet die Umwertung von Kolorit und Maltechnik von reinen Mitteln der Darstellung zu herausragenden Ausdrucksmoeglichkeiten der Malerei nach. Die Autorin bundelt ihre Kompetenzen als Restauratorin, Biochemikerin und Kunsthistorikerin in der Studie, die Theorie und Praxis auf fruchtbare Weise verbindet.

Die Paragonefrage, erstmals ausgiebig von Leonardo diskutiert, besitzt im gesamten Quattrocento eine rege Vorgeschichte, die bei allen fruhen Impulsen durch Petrarca als die entscheidende Phase der Formierung der Debatte betrachtet werden muss. Spektakulare Textfunde der Humanisten, Kunsttraktate, auch eigenhandig von Malern oder Bildhauern verfasst, die Blute an Vielfachbegabungen, oeffentlichen Kunstlerwettbewerben und gattungsmassigen Grenzuberschreitungen verliehen dem wertenden Vergleich der Kunste im Italien des 15. Jahrhunderts sein ganz eigenes Geprage. Erstmals steht dieses - mitsamt dem Fundus an eruierten Quellen - im Zentrum einer grundlegenden Monographie. Leonardos argumentativer Eigenanteil gewinnt ebenso Konturen wie die Genese der Diskussion. Vorweg zweiseitig bemalte Bildnistafeln wie Leonardos Portrat der Ginevra de Benci bieten mit Steinimitationen und Versen spannungsreiche "UEbergriffe" in die Nachbargattungen. Fur Piero della Francesca waren sie Programm, als er das vierteilige Landschaftspanorama im buchartigen Montefeltro-Diptychon zum Ariadnefaden einer poetischen Erzahlung machte.

The most important architects of his time entrusted Jean Marot with their designs, and he knew how to give their ethereal ideas lasting tangibility. Which is precisely why Jean Marot's prints, documenting 17th century French architecture, are of immense value to architectural history. And until today, his work has mainly been reduced to the role of a service rendered. Kristina Deutsch's monograph is the first attempt to shift focus to the creative side of his work and sheds light on Marot's sometimes extraordinarily free interpretations of drawings by other artists. Based on his most significant series of prints -and especially his etchings regarding the Louvre - Deutsch makes a detailed presentation of the parameters that characterize the aesthetic presentation of a structure.

The city of Venice holds a special place in the global imagination. This book explores the creation of one of its largest surviving depictions, which has remained almost unknown to the wider public since its creation exactly four centuries ago. Singed and dated 1611, the painting is the work of the notable early seventeenth-century Bolognese artist Odoardo Fialetti. His huge birds-eye view of the watery townscape is enlivened by tiny vignettes of Venetian life. Eight square meters in size, this remarkable painting is a tour-de-force among depictions of cities. In 1636 the painting was given to Eton College by the former British ambassador to Venice, Sir Henry Wotton. Over the centuries it was known only to pupils and masters at the school, its surface obscured by layers of grime. Restored in 2010-11, Fialetti's view has emerged as a striking work of real artistic merit. Its prominent position in the British Museum's Shakespeare exhibition in the summer of 2012 brought it to the attention of the general public for the very first time. This book takes a closer look at the remarkable picture and the context in which it was created. What kind of artist was Odoardo Fialetti, a Bolognese immigrant hoping to fill the shoes of the recently deceased great masters of the Venetian Renaissance? What image does it present of Venice? What sort of a figure was Henry Wotton, and informed connoisseur and a passionate playing the European politics, though not as diplomatic as perhaps he should have been? This is a relatively neglected period of both in Venetian art history and in British culture, the Jacobean prelude to the enthusiasm for Venetian art of Charles I's court. This beautiful commemorative volume is interdisciplinary in scope, involving history of art, political history, cartography, architectural history and English literature and bibliophilia, as well as a story of restoration and its techniques, drawn together by one of the most distinctive views ever inspired by the townscape of Venice.

This work, the fruit of more than ten years of research, consists of a systematic cataloguing of all Florentine painters, and of all the painters active over many years in the Tuscan city, between the early 17 th and the end of the 18 th Centuries. Alongside artists who have already won renown and about whom various monographic studies already exist, this publication shines a collateral light on relatively unknown personages who are worthy of more than a little interest. In some cases these are artists otherwise unknown to contemporary criticism. The intention is to make a significant contribution to art history and the work is in some cases decisive in its attributions of uncertain works that have hitherto been habitually associated only with the better-known names. The three volumes are accompanied by biographies and lists of paintings along with, as is to be expected, an ample selection of approximately 1,800 colour and monochrome photographic reproductions. Volume I (312 pages) Presentation and introduction by Mina Gregori Colour plates I-CVI Biographies of the artists and index of works Bibliography, index of artists in the catalogue, of names and place names Volume II (376 pages) Plates 1-824 (Allori - Guiducci) Volume III (392 pages) Plates 825-1,698 (Hugford - Zocchi)

Imposing and famous sailing ships are the subject of countless Dutch paintings of the 17th Century. But the works not only bear witness to the skills of their creator; they are documents of historical, topographical and meteorological events. Visibly billowing sails, glorious and proud sailing ships, a ship heeled in the swell and the salvation of banks never to be reached: Many of the paintings of Dutch painters from the mid-17th Century give impressions of maritime affairs that never occurred. These images thus open a wide horizon of interpretations from different areas of knowledge from the period. They document the range and richness of Holland's marine culture in the 17th Century. The works stimulate multiple interpretations: the ship as a metaphor for life, as a symbol of the state, for the exploration of distant lands, as a demonstration of foreign and trade policy in the 17th Century. This book explains the various interpretations in selected examples while at the same time laying bare the picturesque characteristics of eachwork. In cooperation with the National Maritime Museum in Greenwich, London, the exhibition brings together masterpieces from the leading marine painters of the Golden Age, and show alongside unique, large-scale seascapes the subtle drawings from the Print Room of the Hamburg Kunsthalle. German text.