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Khoan and Michael Sullivan began collecting modern Chinese painting in Sichuan in Western China in the 1940s and their collection developed over the course of more than half a century to include paintings by the principal artists of late twentieth century China, as well as works by a new generation. Many of the works presented in this complete catalogue of their collection were given to Khoan and Michael Sullivan by the artists themselves, so that this is at once a work of scholarship and a record of many friendships. This edition has been revised and extended to incorporate new works collected since this book was first published in 2001, and an updated further reading section.
This beautifully produced, richly detailed, and comprehensive survey of fifty influential women artists from the Renaissance to the Post-Modern era details their vast contributions to the art world. From the Early Baroque painter Artemisia Gentileschi and the seventeenth-century illustrator Maria Sibylla Merian to Impressionist Mary Cassatt and Berthe Morisot, and to modern icons such as Frida Kahlo, Georgia O'Keeffe and Louise Bourgeois, the most important female artists are profiled in this book in chronologically arranged double-page spreads. There is a succinct biography for each artist, together with information outlining her accomplishments and influence, additional resources for further study, and, best of all, brilliant full-color reproductions of the artist's works. Packed with information, this stunning and absorbing book showcases the remarkable artistic contributions of women throughout history
This illustrated historical overview features some of the finest examples of Cherokee art in private, corporate, and museum collections here and abroad. As Susan C. Power ranges across the rich legacy of Cherokee artistic achievement from the sixteenth century to the present, she discusses such objects as baskets, masks, beaded and embroidered garments, jewelry, and paintings. Power draws on archival and scholarly sources and, when possible, the artists' own words as she interprets these objects in terms of their design, craftsmanship, style, and most important, their function and meaning in Cherokee history and culture. In addition to recognizing artistic merit and significant contributions to the development of Cherokee art, Power reveals the wide range of geographical locales from which Cherokee art has originated. This includes the Cherokee's tribal homeland in the Southeast, the tribe's areas of resettlement in the West, and places in the United States and beyond to which individuals subsequently moved. Intimately connected to the time and place of its creation, Cherokee art changed along with Cherokee social, political, and economic circumstances. The entry of European explorers into the Southeast, the Trail of Tears, the American Civil War, and the signing of treaties with the U.S. government are among the transforming events in Cherokee art history that Power discusses. In the twentieth century, as Cherokee artists joined the mainstream art world, they helped shape the Native American Fine Art Movement. Today, Cherokee artists continue to create in an artistic voice that is uniquely Cherokee - a voice that is both traditional and contemporary.
In the nineteenth and twentieth centuries it was fashionable to collect 'curios', objects so named because they aroused 'curiosity'. Imaginatively decorated and made from different materials, some of which are still underappreciated, these exotic objects from China and Japan fascinated Westerners. They stimulated a fad for Asia, captivated art lovers, and had a profound influence on the graphic arts in Europe. This beguiling period kindled a passion for collecting in Alfred Baur (1865-1951) and for creation in Alfred Cartier (1841-1925) and his three sons, Louis (1875-1942), Pierre (1878-1964), and Jacques (1884-1941). While the pieces fashioned in Asian style by the Maison Cartier are generally known, their historical and cultural context is not, thus the idea arose of bringing these fine creations together with the collections of the Baur Foundation, Museum of Far Eastern Art, based in Geneva. As one leafs through the pages, Asia Imagined slowly becomes apparent, like a treasure hunt. Diamond-studded pagodas and pavilions, busy scholars beneath the starry sky, nacreous moonlight scenes, shimmering phoenixes, jade dragons, and multi-coloured cherry blossom-like gems depict an imaginary land. The Cartier magic has its effect. Side-by-side with the creations of the Parisian jeweller, the imperial porcelains, lacquerware embellished with precious metals, embroidered silks, jades, coloured enamels, netsuke, sword hilts, and prints belonging to the Baur Foundation give their version of the marvels of China and Japan and install a unique dialogue, offering an exceptional opportunity to view two of the world's most outstanding collections.
The Art of Eastern India, 300-800 was first published in 1980. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Though scholars have extensive knowledge of the art that flourished during Pala rule in Eastern India (ca. 800-1200), little is known about Eastern Indian art during the preceding 500 years. This half-millennium includes the period of the Gupta dynasty and the two centuries that bridge Gupta and Pala rule, when no single dynasty long maintained control of Eastern India. In this study, Frederick M. Asher challenges arthistorical assumptions about Pala art - that it is a new school virtually without links to earlier art 00 by demonstrating that sculpture during the Gupta period and the subsequent three centuries evolved along lines that connect it with Pala art. In so doing, he draws attention to important sculptures, most of them never previously studied, that tell us not only about an unexplored period in Indian art but also about broader aspects of the cultural history and geography of Eastern India. Asher's work is based on field research in Bihar, West Bengal, and Bangladesh. There he gave special attention to the sites of once-flourishing Buddhist monasteries and to Hindu images still worshipped in village India. The author's photographs of the bronze, terra cotta, and stone sculptures, and his detailed text, provide a virtual catalogue raisonne of the known works of the period. Asher's analyses of the images and his attributions of dates to them are based upon close attention to artistic style and iconography, and the study of dynastic and social history, contemporary travelers' reports, and religious history. Drawing together these diverse strands of information, he describes the evolution of art forms over a long period in which there was little apparent historic unity. John M. Rosenfield, professor of art history at Harvard University and author of The Art of the Kushans, says, of The Art of Eastern India,"The scholarship is scrupulously detailed and careful . . . [The book] is in the finest tradition of classical scholarship, and will be consulted or several generations."
The Qur'an makes rich references to light, tying it to revelation, and light consequently permeates the culture and visual arts of the Islamic lands. God Is the Light of the Heavens and the Earth explores the integral role of light in Islamic civilization across a wide range of media, from the Qur'an and literature to buildings, paintings, performances, photography, and other works produced over the past 14 centuries. A team of international experts conveys current scholarship on Islamic art in a manner that is engaging and accessible to the general reader. The objects discussed include some of the first identifiable works of Islamic art-modest oil lamps inscribed in Arabic, which developed into elaborately decorated metal and glass lamps and chandeliers. Later, photography, which creates images with light, was readily adopted in Islamic lands, and it continues to provide inspiration for contemporary artists. Generously illustrated with specially commissioned, sumptuous color photographs, this book shows the potential of light to reveal color, form, and meaning.
This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the "beautiful woman" (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868-1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties). Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman-an iconic image that persists to this day-was cultivated as a "national treasure," synonymous with Japanese culture.
Part of a series of handy, luxurious Flame Tree Pocket Books. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're delightfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use, handbags and make a dazzling gift. This example is based on 'The Sea at Satta in Suruga Province' by Utagawa Hiroshige (1797-1858). Hiroshige was a prolific artist, creating over 5,000 works in his lifetime. Here he makes tribute to Hokusai's The Great Wave, off Kanagawa. The hectic activity of the waves is offset by Mount Fuji's tranquility, demonstrating Hiroshige's fascination with portraying the sensual moods of a landscape.
In this richly illustrated volume Rosa Giorgi argues that because
much of Western art depicts key events, leaders, and practices in
the history of the Christian Church, knowledge of that history is
critical to an appreciation of many of our great masterpieces.
Salish Blankets presents a new perspective on Salish weaving through technical and anthropological lenses. Worn as ceremonial robes, the blankets are complex objects said to preexist in the supernatural realm and made manifest in the natural world through ancestral guidance. The blankets are protective garments that at times of great life changes-birth, marriage, death-offer emotional strength and mental focus. A blanket can help establish the owner's standing in the community and demonstrate a weaver's technical expertise and artistic vision. The object, the maker, the wearer, and the community are bound and transformed through the creation and use of the blanket. Drawing on first-person accounts of Salish community members, object analysis, and earlier ethnographic sources, the authors offer a wide-ranging material culture study of Coast Salish lifeways. Salish Blankets explores the design, color/pigmentation, meaning, materials, and process of weaving and examines its historical and cultural contexts.
Separating Sheep from Goats investigates the history of collecting and exhibiting Chinese art through the lens of the career of renowned American curator and museum director Sherman E. Lee (1918-2008). Drawing upon artworks and archival materials, Noelle Giuffrida excavates an international society of collectors, dealers, curators, and scholars who constituted the art world in which Lee operated. From his early training in Michigan and his work in Occupied Japan as a monuments man to his acquisitions, exhibitions, and publications for museums in Detroit, Seattle, and Cleveland, this study traces how Lee shaped public and scholarly understandings of Chinese art. By examining transnational efforts to collect and present Chinese art and scrutinizing scholarly and museological discourses of the postwar era, this book contributes to the historiography of both Chinese art and American museums.
This engaging publication explores the artistic practices that employ evocation--the calling forth of past emotions, desires, frustrations, and memories into the present--as a mode of connecting past and present. Featuring the work of emerging artists working in a variety of media, including Ronnie Bass, Kajsa Dahlberg, Tellervo Kalleinen and Oliver Kochta-Kalleinen, Fikret Atay, Katerina Seda, Maryam Jafri, and Johanna Billing, as well as films by Keren Cytter, Kevin Willmott, and Jennifer Phang, the book challenges the conventional approach to history whereby the past is kept at a distance as historical fact. Ranging from playful to haunting, the artworks presented here rupture conventional notions of time to alter the dynamic of the present moment and enhance the possibilities for radical change on both a personal and sociopolitical scale.
Enter and explore the powerful, ancestral world of the whare whakairo, or Maori meeting house, with this engaging illustrated guide. Richly illustrated with more than 100 historical and contemporary photographs and original watercolour illustrations, The Maori Meeting House celebrates every aspect of these magnificent taonga (treasures) their history and art forms, symbolism and cultural significance. In a clear, informative and personal narrative, Damian Skinner brings together existing scholarship on whare whakairo and his own reflections as a Pakeha art historian and curator, with reference to meeting houses from all over Aotearoa New Zealand and the world. The voices of carvers, artists, architects, writers, experts and iwi are woven into the text, to give every reader new ways of seeing these taonga whether it is your first view or your hundredth. Equal parts history, personal essay and illustrated guidebook, The Maori Meeting House is an important contribution to contemporary discussions about Maori art and art history.
This collection explores the creative responses of artists to the legacies of war, colonialism, genocide and oppression. Based on a major project of international collaboration supported by the European Science Foundation, it brings together professional art practices, art history and visual culture studies, social anthropology, literary studies, history, museology and cultural policy studies. Case studies are drawn from diverse contexts, including South Africa, Germany, Namibia, the United Kingdom, Nigeria, Indonesia, the Netherlands, Poland, Norway, the Israeli-Palestinian conflict and Australia. The results reveal a courageous and carefully examined global picture, with a variety of new approaches to confronting dominant historical narratives and shaping alternative interpretations. -- .
This richly illustrated book provides an anthology and summation of the work of one of the world's leading historians of Chinese painting and calligraphy. Wen Fong helped create the field of East Asian art history during a distinguished five-decade career at Princeton University and the Metropolitan Museum of Art. Few if any other writers in English have such a broad knowledge of the history and practice of calligraphy and Chinese painting. In this collection of some of his most recent essays, Fong gives a sweeping tour through the history of Chinese painting and calligraphy as he offers new and revised views on a broad range of important subjects.
The topics addressed include "art as history," in which each art object preserves a moment in art's own significant history; the museum as a place of serious study and education; the close historical relationship between calligraphy and painting and their primacy among Chinese fine arts; the parallel development of representational painting and sculpture in early painting history; the greater significance of brushwork, seen abstractly as a means of personal expression by the artist, in later painting history; the paradigmatic importance of the master-to-follower lineage--of genealogy as a social force--in shaping the continuity and directing the subtle changes in Chinese painting history; the role of collectors; and the critical necessity of authenticated works for establishing an accurate art history.
Throughout the book, Fong skillfully combines close analysis and detailed contextualization of individual works to reveal how the study of Chinese painting and calligraphy yields deep insights about Chinese culture and history.
"Vessels of Influence", while examining in depth the role of Chinese ceramics in Japan, also delves into the meaning, motivation for, and rapid development of Japanese porcelain from many angles, including archaeology, heirloom and documentary evidence. The political and fiscal advantage that one lord found for his domain in creating its own local 'china' is placed in the context of the domestic and international market economy. Through an examination of the role of China and that of a domestic 'china' in Japan, a fuller picture of Japan's rich material culture emerges, revealing complex interactions between government, taste-makers, traders, merchants, consumers, imports and new technology. "Vessels of Influence" also discusses how these interactions have been viewed by historians, and the often heated debates that have occurred as a result.
Prince Naris' design skills were both visionary and multi-faceted; his ideas, sketches, plans and drawings came to life as temples and other buildings, interiors, murals, ceiling and other paintings, fans and even a royal banquet menu... This beautifully crafted volume offers readers an opportunity to see and examine his preliminary workings - from blueprints and elevations through to sketches and paintings - for the first time and to gain an insight into his soul as a Royal Prince whose true calling is art and design.
A largely unpublished collection of Japanese Art Brut. A new selection of twenty-five Japanese Art Brut new artists. Following the publication of Art Brut du Japon, co-published in 2008 by the Collection de l'Art Brut and editions Infolio, this catalogue presents pieces by twenty-five new Japanese artists from different regions of Japan, whose works drawings, paintings, photographs, sculptures, and textiles - are largely unpublished. The authors explore the assimilation of Japanese Art Brut into the larger culture from 2008 to the present. As they point out, whereas the notion of mental handicap resides in aesthetic and sociological criteria (these artists are self-taught, and often socially marginalized misfits, draft dodgers, prisoners, psychiatric patients, the elderly, etc. who create outside of the official art system), the condition whether mental or physical is not a criterion in itself. Accompanying an exhibition at Collection de l'Art Brut, Lausanne from November 30, 2018 to April 28, 2019, this catalogue of new Japanese works expands our understanding of Art Brut in a contemporary albeit different cultural setting. Text in English and French.
This is a penetrating glimpse into the first illustrated encyclopaedia of the New World. In August 1576, in the midst of an outbreak of the plague, the Spanish Franciscan friar Bernardino de Sahagun and 22 indigenous artists locked themselves inside the school of Santa Cruz de Tlaltelolco in Mexico City with a mission: to create the first illustrated encyclopedia in the New World. Today this twelve-volume manuscript is preserved in the Biblioteca Medicea Laurenziana in Florence and is widely known as the Florentine Codex. A monumental achievement, the Florentine Codex is the single most important artistic and historical document for studying the peoples and cultures of pre-Hispanic and colonial Central Mexico. It reflects both indigenous and Spanish traditions of writing and painting, including parallel columns of text in Spanish and Nahuatl and more than two thousand watercolour illustrations prepared in European and Aztec pictorial styles. This volume reveals the complex meanings inherent in the selection of the pigments used in the manuscript, offering a fascinating glimpse into a previously hidden symbolic language. Drawing on cutting edge approaches in art history, anthropology, and material sciences, the book sheds new light on one of the world's great manuscripts - and a pivotal moment in the early modern Americas.
This is the first comprehensive survey of the vast and fascinating subject of Persian flatweaves, and in particular floor covers. Previous publications on the subject have largely been dealers' restricted catalogues focusing on a narrow geographical area or the weavings of a particular group, or sections in more general books. This book thus fills a huge gap in the oriental carpet and textile literature. Flatweaves have until recently been seen as merely the products and property of the poor. Since the late 1960s, however, growing attention has been paid to the best known type of flatweave, the gelim, revealing both its quality and variety. Other flatweaves, such as the palas, which is no less frequently found than the gelim, have scarcely been mentioned in any of the literature published so far, yet are shown in this work to be objects of great beauty and diversity. The book is divided into two parts. The first deals with the cultural background to the subject. Drawing on literary sources as well
The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.
These exquisitely colourful, hand-woven textiles are highly prized by collectors and here for the first time is the most extensive collection of garments collected from tribes across southern China including the Bazhai, Zhouxi, Xijiang and Gedong amongst others. The distinctive styles, colours and motifs from each are looked at in turn and the remarkable photographs allow the reader to appreciate the intricacy of each piece and the tradition prized by each tribe.Profusely illustrated with over 320 colour illustrations, the book not only studies the designs themselves but shows the ceremonies the textiles are made for, the traditional weaving methods employed as well other other ornamentations such as headpieces and fastenings. Dying techniques and other working methods are also discussed.
You are girlish, our images tell us. You are plastic. Girlhood and
the Plastic Image explains how, revealing the increasing
girlishness of contemporary media. The figure of the girl has long
been prized for its mutability, for the assumed instability and
flexibility of the not-yet-woman. The plasticity of girlish
identity has met its match in the plastic world of digital art and
cinema. A richly satisfying interdisciplinary study showing girlish
transformation to be a widespread condition of mediation, Girlhood
and the Plastic Image explores how and why our images promise us
the adaptability of youth.
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