Your cart is empty
Engraved in the 19th century, these flamboyant ornamental designs are based on a wide variety of historical examples, dating back as far as the 1500s and including images by Watteau and Durer."
Peter Paul Rubens (1577-1640) is the most important painter of sketches in the history of European art. His Italian and Flemish predecessors had for the most part prepared their paintings by using drawings. Rubens transformed this process by systematically making sketches in colour, with oil paint, and nearly always on panel supports. Rubens's oil sketches were essentially a new form of painting. They brought together the design and colour stages of preliminary work. Because their purpose was to advance another work of art, oil sketches demanded less effort and time than the final products, and this translated into a less polished finish and smaller size. Rubens's sketches invite us to indulge in his art. They are powerful, vivid renditions of a variety of themes, from ancient history and mythology to religion, still life and portraits. They combine seriousness of purpose and a zest for life, transmitted through a masterly lightness of touch. Their small size and appearance of incompleteness draw us in and entice us to look closely. Their sheer quality is a great source of pleasure and learning. This catalogue presents detailed studies and superb illustrations of eighty-two of Rubens's most eloquent oil sketches, and two essays explaining the historical context from which they emerged, their salient features and how they were viewed by contemporaries.
Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few traces Vermeer has left behind tell us little: there are no letters or diaries; and no reports of him at work. Jane Jelley has taken a new path in this detective story. A painter herself, she has worked with the materials of his time: the cochineal insect and lapis lazuli; the sheep bones, soot, earth, and rust. She shows us how painters made their pictures layer by layer; she investigates old secrets; and hears travellers' tales. She explores how Vermeer could have used a lens in the creation of his masterpieces. The clues were there all along. After all this time, now we can unlock the studio door, and catch a glimpse of Vermeer inside, painting light.
The perspective representation of urban landscapes and views, which became a painting genre in 17th-century Holland as exemplified by the works of Gerrit Berckheyde (1638-1698) and Jan van der Heyden (1637-1712), found in Antonio Canal, better known as Canaletto, a more creative and complete artistic interpretation. In 18th-century Venice, Canaletto combined brilliant stage preparation with a deep understanding of perspective. He had a rare pictorial talent for the use of scientific discoveries in the field of optics, together with a unique visual perception of colours and distances. Whether drawing the image in front of his eyes with the aid of the optical camera, an ancient instrument also employed by Van Dyck, Leonardo and Joshua Reynolds, or sketching freehand in a notebook, Canaletto was a modern artist. He was a man of enlightenment, blessed with a spontaneous, natural and poetic creativity, which was always based on constant and meticulous work. Entering his creative world and understanding its mechanisms is the aim of this volume, which is published on the occasion of the 250th anniversary of the artist's death.
Jan Steen, one of the most popular painters of the Dutch Golden Age, is known for his humorous depictions of dissolute households, tavern interiors, quacksalvers and love-sick young women. He was unrivalled in poking fun at every conceivable human weakness and vice. A lesser known fact is that he also painted history scenes: pieces based on episodes from the Bible, apocryphal writings and mythology - stories full of excitement, drama and passion. As with his genre pieces, Steen devoted a great deal of attention in his history paintings to the interaction between the figures, and was keenly aware of the satirical possibilities in every story. In contrast with his later image, Jan Steen was a versatile and ambitious artist with a profound knowledge of art history and literature: knowledge that comes to the fore in his history pieces. This richly illustrated publication, written by experts on Jan Steen, focuses on a little-known part of the artist's oeuvre.
Gianlorenzo Bernini (1598-1680), architect, painter, but above all sculptor, had a career that spanned almost three quarters of a century. He worked under six different popes and was instrumental in the ornamentation of Baroque Rome, from the colonnade of St. Peter to the fountains in piazza Navona and piazza di Spagna, from the many stunning sculptural groups in the churches and palaces of Rome to the dozens of 'speaking portraits', which depict cardinals, popes, kings and intellectuals of his time. The Galleria Borghese, home of many works by Bernini, including some of his world-famous groups such as Apollo and Daphne, The Rape of Proserpina and David, will host a major exhibition on the sculptures of this extraordinary artist. Exceptional in scope and scholarship, the catalogue analyses many different aspects of Bernini's output, focusing on the many innovations he introduced. It also devotes studies to the critical reception of Bernini and to his relationships with friends and patrons (a dictionary of these is included at the end of the book). Accompanies an exhibition in Rome, Galleria Borghese, from 31 October 2017 to February 2018.
Supremely successful at the beginning of his life; lonely, bankrupt and virtually ignored at its end, Rembrandt produced some of the most powerful and psychologically penetrating works in the whole of world art. Poverty, illness, the deaths of his wife, children and devoted mistress - nothing deflected him from his inner vision and his unique handling of light: which would change the course of painting for ever.
The Carthusian monks at San Martino began a series of decorative campaigns in the 1580s that continued until 1757, transforming the church of their monastery, the Certosa di San Martino, into a jewel of marble revetment, painting, and sculpture. The aesthetics of the church generate a jarring moral conflict: few religious orders honored the ideals of poverty and simplicity so ardently yet decorated so sumptuously. In this study, Nick Napoli explores the terms of this conflict and of how it sought resolution amidst the social and economic realities and the political and religious culture of early modern Naples. Napoli mines the documentary record of the decorative campaigns at San Martino, revealing the rich testimony it provides relating to both the monks' and the artists' expectations of how practice and payment should transpire. From these documents, the author delivers insight into the ethical and economic foundations of artistic practice in early modern Naples. The first English-language study of a key monument in Naples and the first to situate the complex within the cultural history of the city, The Ethics of Ornament in Early Modern Naples sheds new light on the Neapolitan baroque, industries of art in the age before capitalism, and the relation of art, architecture, and ornament.
This book brings together fifty exquisite observational portrait drawings from the Renaissance and Baroque periods , including works by Leonardo da Vinci, Durer, Holbein, Bernini, Carracci, Clouet , Rubens and Rembrandt . More than a record of the sitters ' appearance, these works capture a moment of connection between artist and sitter: an encounter.
Mercurial, saturnine, scandalous and unpredictable, Caravaggio - as a man, as a character and as an artist - holds dramatic appeal. He spent a large part of his life on the run, leaving a trail of illuminated chaos wherever he passed, most of it recorded in criminal justice records. When he did settle for long enough to paint, he produced works of staggering creativity and technical innovation. He was famous throughout Italy for his fulminating temper, but also for his radical and sensitive humanisation of biblical stories, and in particular his decision to include the brutal and dirty life of the street in his paintings. Caravaggio was a rebel and a violent man, but he eyed the world with deep empathy, realism and an unrelenting honesty.
The renowned Italian painter Michelangelo Merisi da Caravaggio
(1571-1610) established his career in Catholic Rome, making
paintings that placed particular importance on sacred relics and
the glorification of martyred saints. Beginning with his early
works, Caravaggio was intensely engaged with the physical world. He
not only interrogated appearances but also experimented with the
paint's material nature. "Caravaggio's Pitiful Relics" explores how
the artist's commitment to materiality served and ultimately
challenged the Counter Reformation church's interests. In his first
ecclesiastical commission, Caravaggio offered an unconventional
representation of martyrdom that collapsed the borders between art,
contemporary religious persecution, iconoclasm, and relics in early
Christian catacombs. Yet his art controversially and eventually led
to a criminal trial. After he had fled from Rome in disgrace, his
major altarpiece depicting the death of the Virgin Mary, portraying
her mortality rather than her sanctity, was removed. Caravaggio's
materiality came into conflict with changing notions of the sacred;
thereafter, the sacred object became a secular work of art, marking
the displacement of the relic.
A new approach to late Ottoman visual culture and its place in the world With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque "the first English-language book on the topic " oenver R 1/4stem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire (TM)s capital. R 1/4stem reclaims the label oeOttoman Baroque as a productive framework for exploring the connectedness of Istanbul (TM)s eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style (TM)s cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans (TM) entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire (TM)s power at a time of intensified East-West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom. Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history.
For a variety of reasons, the female artists of the early-modern period who had the opportunity to pursue an artistic career can be counted on the fingers of one hand. So it is hardly surprising that until recently even connoisseurs of painting were unfamiliar with the name Michaelina Wautier. This is the first book about this forgotten painter, many of whose works were once ascribed to better-known male contemporaries. Michaelina Wautier was born in Mons but pursued a career in Brussels, in the courtly circle around Leopold Wilhelm, governor of the Habsburg Netherlands. The archduke himself acquired several of her works, which, with the rest of his renowned collection, ended up in Vienna's Kunsthistorisches Museum. About thirty paintings survive that can be identified as Michaelina's. She produced penetrating portraits, masterly large-scale history paintings, disarming genre scenes. and refined floral still lifes. Just like Artemesia Gentileschi in Italy and Judith Leyster in the Dutch republic, the versatile Michaelina, whose pictures display challengng themes and technical virtuosity, uniquely enriched Baroque painting.
Bronze has long been used by sculptors to create complex and beautiful forms, three-dimensional realizations of the most vivid human emotions and experiences. The outstanding collection of European bronze sculptures formed by Peter Marino is built around an exploration of the human form, as depicted in this lustrous and sensuous material. With a special focus on French and Italian bronzes of the High Baroque, the collection includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain, and Corneille van Cleve. The bronzes say much about the cultural preoccupations of their age, from the eternal fascination with the ancient world, to more modern concerns, such as contemporary theater and the legacy of great modern sculptors. Above all, the bronzes in the Marino collection are wonderful works of art, whose beauty and power speak across the centuries to today's audiences.
In his joint capacities of Premier peintre du roi, director of the Gobelins manufactory and rector of the Academie royale de peinture et de sculpture, Le Brun exercised a previously unprecedented influence on the production of the visual arts - so much so that some scholars have repeatedly described him as `dictator' of the arts in France. The Sovereign Artist explores how Le Brun operated in his diverse fields of activities, linking and juxtaposing his portraiture, history painting and pictorial theory with his designs for architecture, tapestries, carpets and furniture. It argues that Le Brun sought to create a repeatable and easily recognizable visual language associated with Louis XIV, in order to translate the king's political claims for absolute power into a visual form. How he did this is discussed through a series of individual case studies ranging from Le Brun's lost equestrian portrait of Louis XIV, and his involvement in the Querelle du coloris at the Academie, to his scheme for 93 Savonnerie carpets for the Grande Galerie at the Louvre, his Histoire du roy tapestry series, his decoration of the now destroyed Escalier des Ambassadeurs at Versailles and the dramatic destruction of the Sun King's silver furniture. One key theme is the relation between the unity of the visual arts, to which Le Brun aspired, and the strong hierarchical distinctions he made between the liberal arts and the mechanical crafts: while his lectures at the Academie advocated a visual and conceptual unity in painting and architecture, they were also a means by which he attempted to secure the newly gained status of painting as a liberal art, and therefore to distinguish it from the mechanical crafts which he oversaw the production of at the Gobelins. His artistic and architectural aspirations were comparable to those of his Roman contemporary Gianlorenzo Bernini, summoned to Paris in 1665 to design the Louvre's East facade and to create a portrait bust of Louis XIV. Bernini's failure to convince the king and Colbert of his architectural scheme offered new opportunities for Le Brun and his French contemporaries to prove themselves capable of solving the architectural problems of the Louvre and to transform it into a palace appropriate "to the grandeur and the magnificence of the prince who [was] to inhabit it" (Jean-Baptiste Colbert to Nicolas Poussin in 1664). The comparison between Le Brun and Bernini not only illustrates how France sought artistic supremacy over Italy during the second half of the 17th century, but further helps to demonstrate how Le Brun himself wanted to be perceived: beyond acting as a translator of the king's artistic ambition, the artist appears to have sought his own sovereign authority over the visual arts.
This absorbing introduction to the story of Rembrandt's rampant fame and influence in Britain is filled with beautiful images. The story of 'Rembrandt mania' began in 18th-century Britain with passionate, and often eccentric, collectors acquiring artworks by any and every means. As the craze for Rembrandt ebbed and flowed, each new wave of enthusiasm brought him ever-greater fame and influence, and collectors became increasingly ingenious. This master's impact not only on collectors and the public but also on British artists over the last four centuries is explored, with lavish paintings, drawings and prints from artists such as Henry Raeburn, Joshua Reynolds and James Abbott McNeill Whistler shown alongside some of Rembrandt's most famous masterpieces.
What a shock it must have been for the Utrecht painters Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen when they first encountered the breathtaking and unconventional paintings of Caravaggio in Rome. This volume shows impressively how the young artists individually explored this role model and thereby developed their own individual style. In around 1600 Rome was the centre of the world. Attracted by Caravaggio's spectacular success, young artists from all over Europe converged on the bus tling metropolis. The up-and-coming painters studied the same works, discussed matters with each other and used Caravaggio's style to develop their own individual pictorial language. Tracing the careers of the three most important Utrecht Caravaggists, the authors describe the atmosphere of this artistic mood of renewal. Only in a comparison with their European fellow artists does it become evident how strongly the Dutch tradition, with its love of merciless realism, influenced the creative work of the Utrecht painters.
In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats-a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era-particularly Rembrandt-this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries-including Albrecht Durer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine-the book demonstrates the indelible mark that Van Dyck left on the genre.
This unique art publication combines the finest materials, the most innovative techniques and the testimonies of thought leaders and craft masters from around the world. The books bring the reader eye to eye with over 60 iconic paintings such as Rembrandt's Night Watch and Vermeer's Milkmaid. Leading contemporary critical thinkers explain how their perception of the world has been influenced by these paintings. Featuring writings of Ferran Adria, David Allen, Alain de Botton, Anton Corbijn, Angela Missoni, Jimmy Nelson, Erwin Olaf and many more, the testimonies add a new way of seeing not only these masterpieces, but also life itself. The book is lavishly produced in genuine leather, with beautiful hand-written calligraphy, and the finest printing technique and paper.
You may like...
Lawrence Gowing Paperback R350 Discovery Miles 3 500
Vermeer and the Dutch Masters
Flame Tree Hardcover (1)
Timeline: Book of Rembrandt
Jacopo Stoppa Hardcover
Rembrandt's Universe - His Art * His…
Schwartz, Gary Hardcover
Art and Architecture in Italy, 1600-1750…
Rudolf Wittkower Paperback
The Painter's Touch - Boucher, Chardin…
Ewa Lajer-Burcharth Hardcover
Vermeer: The Complete Works
Arthur K. Wheelock Paperback
Vermeer and the Masters of Genre…
Eddy Schavemaker Hardcover
Rubens: His Life and Works in 500 Images…
Susie Hodge Hardcover
Art and Architecture in Italy, 1600-1750…
Rudolf Wittkower Paperback