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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
Jean-Baptiste Pierre LeBrun's life was marked by his intense
interest in art, first as an artist, and then from 1770 until his
death in 1813, as an art dealer/connoisseur and as a participant in
the transformation of the Louvre into a national museum during the
French Revolution. He managed to accommodate whichever regime
assumed power, from monarchy to republic to empire. He married the
artist Elisabeth Vigee in 1776 and together they figured
prominently in the pre-revolutionary cultural world of Paris.
LeBrun travelled widely, buying art for his gallery and
contributing to a number of aristocratic collections. His expertise
in attributions of 17th-century Dutch and Flemish paintings was
acknowledged internationally, while his reference work on the
subject was considered the most comprehensive ever written. LeBrun,
the grand-nephew of the illustrious artist Charles LeBrun, became
one of the most successful art dealers in Paris. He played an
active role in the politics of art between 1789 and 1802, serving
as an expert-commissioner in restoration at the national museum.
His inventories of artworks, confiscated from all over Europe by
Napoleon's armies, have provided a valuable record of the
development of the French national museum. In addition, his
inventories have been useful in the identification and recovery of
Nazi confiscations during World War II. LeBrun's accomplishments
during a tumultuous period of political and artistic change present
evidence of his contributions to the concept of the modern art
museum, notably in the areas of conservation, restoration, and
arrangement.
The baroque period deals with the art created roughly between the
end of the 16th and the early years of the 18th centuries. The
masters of the era include Caravaggio, Gianlorenzo Bernini,
Rembrandt, Vermeer, Diego Velazquez, and Nicolas Poussin. The
Historical Dictionary of Baroque Art and Architecture, Second
Edition covers the most salient works of baroque artists, the most
common themes depicted, historical events and key figures
responsible for shaping the artistic vocabulary of the era, and
definitions of terms pertaining to the topic at hand. This second
edition of Historical Dictionary of Baroque Art and Architecture
contains a chronology, an introduction, and an extensive
bibliography. The dictionary section has over 600 cross-referenced
entries on famous artists, sculptors, architects, patrons, and
other historical figures, and events. This book is an excellent
resource for students, researchers, and anyone wanting to know more
about Baroque art.
This book provides an interdisciplinary introduction to the
Neapolitan Baroque, through original and in-depth interpretations
of pivotal masterpieces of Neapolitan art, literature, philosophy,
theater. The book also presents the city of Naples as a cultural
space in which the body functions as a visual, literary, and urban
metaphor. By examining the works of Giordano Bruno, Caravaggio,
Giambattista Basile, Silvio Fiorillo and Raimondo di Sangro,
Principe di San Severo, the essays comprising this volume show the
contribution of these world renowned figures to the Baroque imagery
of Naples, but also highlight the impact the city had on their
work. Finally, the book stirs reflection on the enduring presence
and current revival of the Neapolitan Baroque, by looking at
contemporary culture and the cinematic adaptation of baroque works,
such as Matteo Garrone's Tale of Tales.
The Reformation is generally regarded as a calamitous episode in
the history of British art, with the rich artistic heritage of the
medieval period eradicated and replaced by an austere Protestant
culture of the word. According to this view, religious art had no
place in post-Reformation Britain. This compelling new study
presents a wealth of visual evidence to argue that religious
subject matter was common in the arts of Protestant Britain. Tara
Hamling examines decorative features from historic houses
throughout England and Scotland and identifies a significant but
overlooked trend in the history of British art. She reveals a
widespread fashion for large-scale religious imagery in houses
owned by the gentry and prosperous middle classes during the period
1560-1660 which is interpreted in relation to life in the 'godly'
household. The book is copiously illustrated with narrative imagery
in wall painting, plasterwork, carved wood and stone and a range of
objects including furniture, textiles and ceramics.
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.
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