Giambattista and Domenico Tiepolo documents an important collection of master drawings donated by an individual to the Sidney and Lois Eskenazi Museum of Art at Indiana University, including five drawings by the celebrated Venetian genius Giambattista Tiepolo and sixteen drawings by his most famous son, Domenico Tiepolo. Twelve of the sixteen form part of Domenico's most important drawing series-his exhaustive visual exploration of the New Testament. Also included are two drawings discovered after the 2006 publication of Domenico Tiepolo: A New Testament and seen here for the first time. Gealt and Knox are world-renowned experts on the Tiepolos and this book will serve as a useful reference to understanding their work as draftsmen. This beautiful illustrated volume will appeal to art lovers, biblical scholars, and those who value the unique work of the Tiepolos.

This is the first-ever scholarly publication devoted to the art of Francesco de Mura (1696-1782), one of the greatest painters of the Golden Age of Naples. De Mura's refined and elegant compositions, with their exquisite light and coloring, heralded the rococo, and his later style was a precursor of Neo-Classicism. His ceiling frescoes at Monte Cassino, destoyed in World War II, rivalled those of his celebrated Venetian contemporary, Giambattista Tiepolo (1696-1770). Yet today, he lacks his proper place in the history of art. This volume demonstrates why it is now time to reevaluate this once-celebrated artist.

Intricate, expressive, given to grandeur and even excess, Baroque art as a style is inseparable from the meanings it seeks to convey. Vernon Hyde Minor's Baroque Visual Rhetoric probes this combination of style and message and - equally importantly - the methodological basis on which the critical art historian comes to establish that meaning. Drawing on a breathtaking range of critical literature, from the German founders of art history as an academic discipline to Heidegger, Derrida, and de Man, Minor considers the issue through a series of Baroque masterpieces: Bernini's Baldacchino in St. Peter's Basilica, the statues in the church of San Giovanni in Laterano, Borromini's church of Sant'Ivo alla Sapienza, Baciccio's frescoes in the church of Il Gesu, the paintings of Philippe de Champaigne, and the Corsini Chapel in San Giovanni in Laterano.

The Path of Humility: Caravaggio and Carlo Borromeo establishes a fundamental relationship between the Franciscan humility of Archbishop of Milan Carlo Borromeo and the Roman sacred works of Caravaggio. This is the first book to consider and focus entirely upon these two seemingly anomalous personalities of the Counter-Reformation. The import of Caravaggio's Lombard artistic heritage has long been seen as pivotal to the development of his sacred style, but it was not his only source of inspiration. This book seeks to enlarge the discourse surrounding Caravaggio's style by placing him firmly in the environment of Borromean Milan, a city whose urban fabric was transformed into a metaphorical Via Crucis. This book departs from the prevailing preoccupation - the artist's experience in Rome as fundamental to his formulation of sacred style - and toward his formative years in Borromeo's Milan, where humility reigned supreme. This book is intended for a broad, yet specialized readership interested in Counter-Reformation art and devotion. It serves as a critical text for undergraduate and graduate art history courses on Baroque art, Caravaggio, and Counter-Reformation art.

Bildliche Darstellungen des Propheten Mohammed gab es in Europa schon lange vor dem sogenannten "Karikaturenstreit". Bereits im fruhen Buchdruck erscheint Mohammed als Personifikation der abendlandischen Vorstellungen vom Islam und zugleich als eine faszinierende, schillernde Figur von gesellschaftlicher Relevanz. Anhand von Druckgraphiken in Koranubersetzungen und Biographien des Propheten aus funf Jahrhunderten beschreibt die Studie die Konstanten und Wandlungen der Mohammedbilder in ihrem jeweiligen historischen Kontext. Damit leistet das Buch einen bildwissenschaftlichen Beitrag zur Eroerterung von Alteritatskonstruktionen, zur Frage von Religionsdarstellungen in der bildenden Kunst und zur Geschichte des Islambildes in Westeuropa.

No literary figure of the 18th century was more esteemed than the poet Alexander Pope, and his sculpted portraits exemplify the celebration of literary fame at a period when authorship was being newly conceived and the portrait bust was enjoying new popularity. Accompanying an exhibition at Waddesdon Manor (The Rothschild Collection), this publication explores the convergence between authorship, portraiture, and the sculpted image in particular, by bringing together a wide range of works that foreground Pope's celebrity status. Pope took great pains over how he was represented and carefully fashioned his public persona through images, published letters, and the printed editions of his works. Eaxmined alongside some of the most celebrated painted portraits of the poet, will be a selection of the printed texts which Pope planned with meticulous care. The core of the publication will consist of eight different versions of the same portrait bust by the leading sculptor of the period, Louis Francois Roubiliac. The marble bust had long been seen as a form appropriate for the celebration of literary fame and Pope's bust in part imitates those of classical authors whose works he both translated and consciously imitated in his own poems. More than any other sculptor, Roubiliac reqorked the conventions of the bust, transforming it into a genre that was considered worthy of close and sustained attention. Nowhere is this seen more tellingly than in his compelling and intense portraits of Pope. Based on a vividly modelled clay original, the variant marble versions were carved with arresting virtuosity, recalling Pope's own phrase,"Marble, soften'd into Life". At the same time, the image was reproduced by both the sculptor himself and by others, in a variety of materials. Multiplied and reproduced throughout the 18th century, Pope's bust was the most familiar and visible sign of his authorial fame. At the same time, it was also used as a way of articulating friendship - a constant theme in Pope's verse - and all the early versions of Roubiliac's bust were probably executed for Pope's closest friends. By bringing together the eight versions thought to have been executed by Roubiliac and his studio, and a number of other copies in marble, plaster, and ceramic, this publication will offer the opportunity to explore not only the complex relationship between these various versions but the hitherto little-understood processes of sculptural production and replication in eighteenth-century Britain.

Joseph Anton Feuchtmayer gehorte im 18. Jahrhundert zu den genialen Bildhauern seiner Zeit. Seine beruhmte Werkstatt in Salem-Mimmenhausen, unweit vom Bodensee, war ein grosses Unternehmen und ein bedeutendes Kunstzentrum, in welchem internationale Stromungen zusammenliefen. Woher nahm der Meister seine Inspirationen? Wie fertigte er seine schneeweissen, tanzerischen Skulpturen? Welches Geheimnis birgt der in kostbaren Farben glanzende Stuckmarmor? Wie entstand sein Meisterwerk, die beruhmte Wallfahrtskirche Birnau? Ein reich bebildertes Buch, in welchem der Bildhauer von den Sonnen- und Schattenseiten seines Lebens sowie von der Entstehung seiner aussergewohnlichen Werke bericht

In the eighteenth century, New Spaniards (colonial Mexicans) so lauded their nuns that they developed a local tradition of visually opulent portraits, called monjas coronadas or “crowned nuns,� that picture their subjects in regal trappings at the moment of their religious profession and in death. This study identifies these portraits as markers of a vibrant and changing society that fused together indigenous and Euro-Christian traditions and ritual practices to construct a new and complex religious identity that was unique to New Spain. To discover why crowned-nun portraits, and especially the profession portrait, were in such demand in New Spain, this book offers a pioneering interpretation of these works as significant visual contributions to a local counter-colonial discourse. James M. Córdova demonstrates that the portraits were a response to the Spanish crown’s project to modify and modernize colonial society—a series of reforms instituted by the Bourbon monarchs that threatened many nuns’ religious identities in New Spain. His analysis of the portraits’ rhetorical devices, which visually combined Euro-Christian and Mesoamerican notions of the sacred, shows how they promoted local religious and cultural values as well as client-patron relations, all of which were under scrutiny by the colonial Church. Combining visual evidence from images of the “crowned nun� with a discussion of the nuns’ actual roles in society, Córdova reveals that nuns found their greatest agency as Christ’s brides, a title through which they could, and did, challenge the Church’s authority when they found it intolerable.

Der Band eroeffnet einen neuen Zugang zur Paragone-Debatte der Fruhen Neuzeit im Sinne eines produktiven Mitstreitens. Dies betrifft im Speziellen die Rolle zwischen Malerei und Skulptur, im Allgemeinen das Verhaltnis zwischen Natur und Kunst. Deren Beziehung soll als eine osmotische verstanden werden, wie sie sich etwa in der Kunstkammer verkoerpert. Wenn sich in visuellen Bildformen koerperlich-haptische Eigenschaften einschreiben, Farbe als bildhauerisches Mittel verwendet oder Skulptur zum Bild wird, ikonographische und stilistische Zitate eingesetzt oder kunstlerische Stile weiterentwickelt werden, beschreibt dies immer auch ein Ringen um die adaquate Ausdrucksform. Die Erganzungserscheinungen der Gattungen verweisen auf eine Praxis, die Bilder stets plurimedial versteht.

The first in-depth study of the Utrecht artist to address questions beyond connoisseurship and attribution, this book makes a significant contribution to Ter Brugghen and Northern Caravaggist studies. Focusing on the Dutch master's simultaneous use of Northern archaisms with Caravaggio's motifs and style, Natasha Seaman nuances our understanding of Ter Brugghen's appropriations from the Italian painter. Her analysis centers on four paintings, all depicting New Testament subjects. They include Ter Brugghen's largest and first known signed work (Crowning with Thorns), his most archaizing (the Crucifixion), and the two paintings most directly related to the works of Caravaggio (the Doubting Thomas and the Calling of Matthew). By examining the ways in which Ter Brugghen's paintings deliberately diverge from Caravaggio's, Seaman sheds new light on the Utrecht artist and his work. For example, she demonstrates that where Caravaggio's paintings are boldly illusionistic and mimetic, thus de-emphasizing their materiality, Ter Brugghen's works examined here create the opposite effect, connecting their content to their made form. This study not only illuminates the complex meanings of the paintings addressed here, but also offers insights into the image debates and the status of devotional art in Italy and Utrecht in the seventeenth century by examining one artist's response to them.

This is the first illustrated scholarly work devoted to the reception and reputation of Edinburgh's premier Enlightenment portrait painter. Sir Henry Raeburn (1756-1823) is especially well known in Scotland as the portrait painter of members of the Scottish Enlightenment. However, outside Scotland, the artist rarely makes more than a fleeting appearance in survey books about portraiture. Ten international scholars recover Raeburn from his artistic isolation by looking at his local and international reception and reputation, both in his lifetime and posthumously. It focuses as much on Edinburgh and Scotland as on metropolitan markets and cosmopolitan contexts. Previously unpublished archival material is brought to light for the first time, especially from the Innes of Stow papers and the archives of the dukes of Hamilton. It features 14 chapters, each looking at different aspects of Raeburn's professional career. There are international scholars contributing to Raeburn studies for the first time. It offers interdisciplinary perspectives setting a new agenda for Raeburn studies. It has traditional art analysis integrated with cultural, social, political and economic history. It includes much unpublished archival material.

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 World Created in the Image of Man investigates the development of the third dimension in painting from the dramatic moment when spatial construction becomes charged with an external force antagonistic to the effort of forms, or human figures, to preserve their permanence. The competitive contact between the external and internal worlds represented in the picture brings a vital element to the unfolding of art as it occurs in both the West and the East. As the analysis of masterpieces from different historical periods and cultures demonstrates here, this vital impulse becomes a necessary part of pictorial composition and the measure of the quality of the work of art. It can reveal itself in a limitless and disparate variety of subject matter: a scene from Japanese court life, as depicted in the illustrations of the early twelfth century to the novel The Tale of Genji; a representation of the maternal feeling of the Virgin anticipating the fate of her child in Byzantine icon painting; Raphael's "universal interior" in The School of Athens; Rembrandt's allegory of historic continuity in Aristotle with the Bust of Homer. The progression of this dynamic eventually leads to the surrender of form to space with the Impressionists; and to the conclusion of the book, which considers Postmodern art in the form of the installation, where the emphasis is put on the unprecedented role of the viewer as a component of the work, and which suggests an environment that is totally alien, or even hostile to him. Art historians, students of art history and the educated general reader with an interest in painting will find this book a rewarding and stimulating read.

Profusely illustrated, this historical work focuses on the planning and construction of the Plaza Mayor in Madrid, Spain, during the second half of the 16th century--when Madrid went from being a mercantile town to the capital of the Hapsburg Empire. Including a detailed analysis of archived documents, architectural plans, and drawings, this study chronicles this monument's architectural and urban development, explains the symbolism associated with it, and reveals how it came to be a model for other European constructions. "Profusamente ilustrada, esta obra historica enfoca el planeamiento y construccion de la Plaza Mayor en Madrid, Espana, durante la segunda parte del siglo 16--cuando Madrid paso de ser un pueblo mercantil a capital del imperio de los Habsburgo. Incluyendo un analisis detallado de documentos archivisticos, planos arquitectonicos y dibujos, este estudio relata los progresos arquitectonicos y urbanos del monumento, explica el simbolismo asociado con ello, y revela como llego a ser un modelo para otras construcciones europeas."

"Aux limites de l'imitation "pose une question audacieuse que les innombrables etudes existantes sur l'"ut pictura poesis" a l'age classique ont eu tendance a laisser dans l'ombre: celle de la matiere comme limite de l'imitation, suivant l'hypothese selon laquelle le surgissement du materiel est a l'origine du delitement de l'"ut pictura poesis" au cours de l'age classique. Les etudes reunies ici abordent cette question pour l'ensemble de l'age classique (allant du XVIe a la fin du XVIIIe siecle) ainsi que pour les principaux domaines artistiques que l'on peut distinguer (litterature, peinture, sculpture, musique, danse).

With essays by Valerie Bajou, Philippe Bordes, Thomas Crow, Michael Fried, Tom Gretton, Darcy Grimaldo Grigsby, Stephane Guegan, Daniel Harkett, Godehard Janzing, Dorothy Johnson, Mehdi Korchane, Ewa Lajer-Burcharth, Issa Lampe, Mark Ledbury, Simon Lee, Heather McPherson, David O'Brien, Satish Padiyar, Todd Porterfield, Susan L. Siegfried, and Helen Weston Jacques-Louis David (1748-1825), the most celebrated painter of his era, was appointed court painter to Napoleon in 1804 and exiled to Brussels in 1816. This important book--based on the proceedings of an international symposium--explores David's grand projects of the Empire period and the often mysterious works produced in his last years as a political exile. David after David features twenty-one essays by leading art historians that discuss these later works--which include innovative portraits as well as paintings and drawings that address the opposing themes of the antique and modern--in the aesthetic, political, and social contexts of their production and reception. The book also draws upon recently discovered letters the artist wrote in exile and provides fascinating new perspectives into his life and art. Distributed for the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

Die Burgerbibliothek Zürich wurde 1629 gegründet und ging 1631 in die Hände des Staates über, der durch die Bibliothek die Wissenschaften fördern wollte. 1645 gab der Bibliotheksrat der Burgerbibliothek ein Neujahrsblatt heraus, das den Kindern der Stadtbürger verteilt wurde. Daraus entstand die Tradition der Neujahrsblätter der Burgerbibliothek, die bis 1939 gepflegt wurde. Die Neujahrsblätter sind als Machtinstrumente des Staates einmalige Zeitzeugen von besonderer Bedeutung und geben Aufschluss über theologische, politische, soziale und historische Gegebenheiten der Zeit. Diese Arbeit analysiert 15 ausgewählte Blätter aus den Jahren 1645 bis 1672, die alle vom renommierten Künstler Conrad Meyer und dem ebenso bekannten Dichter und Theologen Johann Wilhelm Simler geschaffen wurden. Diese Blätter sind von besonderer Bedeutung, da die beiden Autoren erstmals die Kombination von Text und Bild zu erbaulichen Zwecken einsetzten. Ziel dieser Untersuchung ist es, den Begriff der Erbauung näher zu beschreiben und damit die Funktion jedes einzelnen dieser Blätter genau zu definieren.

This volume brings together the papers presented at a conference entitled 'Experiencing the Garden in the Eighteenth Century', held at the Institute of Romance Studies, Senate House, University of London on 13 March 2004. Speakers came from Europe, the United States and New Zealand, and each gave a very different perspective on the eighteenth-century landscape garden in England, France and elsewhere in Europe. The papers focused on the theme of experience, an especially important aspect of eighteenth-century garden design. Landscape gardens were created for visitors to move through on a journey from one place to the next: the garden would not be seen all at once, but would be experienced as a story unfolding. The visitor would follow a circuit around the garden, moving from light to shade, being given suggestive prompts with statues, temples and viewpoints, as if on a sensory, emotional and intellectual journey.

The Baroque period was crucial for the development of art theory and the advancement of the artistic academy. This collection of primary sources brings this important period to life with significant documents and texts. It conveniently assembles major texts, which are otherwise available only in scattered publications. The lives of leading artists--Caravaggio, El Greco, among others---are discussed by their contemporaries, while Bellori, Galileo, Pascoli, and others write on art theory and practice. The documents provide fascinating glimpses of the period's artistic self-image.

Fashion--the question of what to wear and how to wear it--is a centuries-old obsession. Beyond superficial concerns with personal appearance, the history of dress points to deep preoccupations surrounding the social order, national identity, and moral decency. Produced in conjunction with an exhibition at the David and Alfred Smart Museum of Art (running from October 23, 2001 through April 28, 2002), "A Well-Fashioned Image investigates clothing and the representation of clothing from these various perspectives. This richly illustrated catalogue, the fourth in a series sponsored by the Andrew W. Mellon Foundation, features an introduction by co-curators Elizabeth Rodini, the Smart Museum's Mellon Projects Curator, and Professor Elissa B. Weaver of the University of Chicago's Department of Romance Languages and Literatures, which is followed by essays addressing the topic from a variety of perspectives. Also included are a substantial bibliography on the topic of costume in art and an exhibition checklist.