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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800 > Baroque art
Catalogue exploring the five spectacular views of the Fortress of
Koenigstein in Dresden by Venetian painter Bernardo Bellotto,
nephew and pupil of Canaletto Bernardo Bellotto (1722-1780) ranks
amongst the very greatest view painters of eighteenth-century
Europe. Today, he is best known for his views of northern European
cities: large-scale works characterised by panoramic compositions,
a strongly contrasted use of light and shadow, and meticulous
attention to architectural detail. This book provides an overview
of Bellotto's life and career, as well as a record of the historic
reuniting of his five spectacular views of the fortress of
Koenigstein, displayed together for the first time in over 250
years, following the National Gallery's recent acquisition of The
Fortress of Koenigstein from the North in 2017. Commissioned by
August III, Elector of Saxony and King of Poland, these works
depicting the fortress from different viewpoints are undoubtedly
Bellotto's finest non-urban paintings. These remarkable pictures
are imbued with a monumentality rarely seen at this time and the
series dramatically illustrates the very different direction in
which Bellotto took the tradition of European view painting.
Published by National Gallery Company/Distributed by Yale
University Press Exhibition Schedule: The National Gallery, London
(July 22-October 31, 2021) Manchester Art Gallery (November 20,
2021-February 27, 2022)
The Dresden collection's singular group of Rembrandt works - about
20 drawings attributed to the master today and the nearly complete
oeuvre of etchings- will provide the basis for this remarkable
publication. It will have a particular focus on Rembrandt's
narrative compositions, printed self-portraits, studies of his wife
Saskia, and will include works from all periods of his oeuvre plus
prints and drawings by artists from his workshop and followers. The
list of artists who understood Rembrandt as a dynamic authority and
source of inspiration is long, reaching from his immediate
followers to masters of the 18th century, from Giovanni Benedetto
Castiglione to Jonathan Richardson to the kindred spirit Francisco
de Goya, into the 20th century and up to the present day. Examples
include Edouard Manet, Henri Toulouse-Lautrec, Lovis Corinth, Kathe
Kollwitz, Max Beckmann, Pablo Picasso, as well as Marlene Dumas and
William Kentridge and artists from the GDR such as A.R. Penck. By
including works by these artists, the exhibtion and catalogue
foreground Rembrandt as one of the most important 'artists' artist'
of all time. Select juxtapositions will help the reader better
understand the fi reworks of creativity that Rembrandt not only lit
in his own time but those he continues to ignite today. Rembrandt
remains eternally captivating, not only because of his radical
choices and unconventional interpretations of Christian and profane
pictorial subjects, but also because of his joy in experimentation,
especially in the use of printing and drawing techniques, and his
refl ective, humorous intellect, complemented by his sensually
direct approach to the world. With a light hand, he broke open the
conventions of his era. The pictorial worlds that he created with
his free, decisive mark convey his near inexhaustible interest in
nature as creation, whether it be the human exterior or interior,
and off er a wealth of connecting points and constellations for
other artists as well as for the viewer.
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The Passion of Christ
(Hardcover)
J.Richard Judson; Volume editing by Carl Van De Velde
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R3,241
R2,866
Discovery Miles 28 660
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Rubens was well placed to take advantage of the increasing demand
for scenes of Christ's Passion in the Southern Netherlands at the
beginning of the 17th Century. He had developed a reputation for
his religious paintings in Italy, and his return to Antwerp
coincided with the efforts of the Catholic Church to restore and
replace altarpieces damaged by the Calvinists. The experience of
Italy fostered Ruben's interest in both the historical and the
human aspects of Christ's Passion. The influence of classical
sculpture and of Titian, Michelangelo and Caravaggio is evident in
the monumental quality of his compositions, but he also valued the
emotional intensity of Northern masters like Rogier van der Weyden
and Quentin Massys. He made many innovations in his concern for
accuracy, especially in disputed subjects like the Elevation of the
Cross. Ruben's success in transforming all these diverse influences
is a tribute to his deeply held religious beliefs and his
determination to give his viewers the sense of witnessing a moment
in history. The images that Rubens created were appropriated
throughout Europe.
Pedro de Mena y Medrano (1628-1688) is the most highly regarded
master of Spanish Baroque sculpture, on a par with his
contemporaries, the great seventeenth-century painters Velazquez,
Zurbaran and Murillo. Mena's contributions to Spanish Baroque
sculpture are unsurpassed in both technical skill and
expressiveness of his religious subjects. His ability to sculpt the
human body was remarkable, and he excelled in creating figures and
scenes for contemplation. This first monograph of Pedro de Mena
shows incredible details and remarkable images of his
hyper-realistic sculptures, full of passion. In addition to text by
curator Xavier Bray, Pedro de Mena also features important
contributions by Jose Luis Romeo Torres, curator of the exhibition
Pedro de Mena, to be held in Malaga in 2019.
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.
"Seventeenth-Century European Drawings in Midwestern Collections:
The Age of Bernini, Rembrandt, and Poussin" brings together more
than one hundred treasures of the Baroque age from museum
collections throughout the Midwest. The volume presents a
fascinating and representative selection of Italian, Dutch,
Flemish, and French drawings in Midwestern repositories, offering
new insights on many of these works of art. Many are relatively
unknown, and some have never before been published.
Authored by major scholars in the field, the catalogue presents
each drawing along with a concise description with full scholarly
apparatus. Four essays, written by Babette Bohn, George S. Keyes,
Kristi A. Nelson, and Alvin L. Clark, Jr., respectively, introduce
the Italian, Dutch, Flemish, and French schools. The catalogue's
introductory essay, by Shelley Perlove, places these works within
the historical, iconographic, and stylistic currents of
seventeenth-century art. The catalogue is designed to have
widespread appeal for art historians, curators, artists,
collectors, students, and general readers interested in art and
cultural history. Moreover, "Seventeenth-Century European Drawings
in Midwestern Collections "highlights the surprising number of
institutions throughout the Midwest that have acquired
distinguished European drawings from the seventeenth century worthy
of full recognition by collectors and connoisseurs.
This is a nonchronological introduction to Baroque, one of the
great periods of European art. John Martin's descriptions of the
essential characteristics of the Baroque help one to gain an
understanding of the style. His illustrations are informative and
he has clearly looked with a fresh eye at the works of art
themselves. In addition to the more than 200 illustrations, the
volume contains an appendix of translated documents.
Dante Alighieri (1265-1321) is one of the greatest European
writers, whose untrammelled imaginative capacity was matched by a
remarkable knowledge of the science of his era. His poems also
paint compelling visual images. In Visions of Heaven, renowned
scholar Martin Kemp investigates Dante's characterisation of divine
light and its implications for the visual artists who were the
inheritors of Dante's vision. The whole book may be regarded as a
new paragone (comparison), the debate that began in the Renaissance
about which of the arts is superior. Dante's ravishing accounts of
divine light set painters the severest challenge, which it took
them centuries to meet. A major theme running through Dante's
Divine Comedy, particularly in its third book, the Paradiso,
centres on Dante's acts of seeing. On earth his visual perceptions
are conducted according to optical rules, while in heaven the
poet's human senses are overwhelmed by light of divine origin,
which does not obey his rules of mathematical optics. The repeated
blinding of Dante by excessive light sets the tone for artists'
striving to portray unseeable brightness. Raphael shows himself to
be the greatest master of spiritual radiance, while Correggio works
his radiant magic in his dome illusions in Parma Cathedral. When
Gaulli evokes the glories of the name of Jesus in the huge vault of
the Jesuit Church in Rome he does so with an ineffable light that
explodes though encircling clusters of glowing angels, whose pink
bodies are bleached by the extreme luminosity of the light source.
Published to coincide with the 700th anniversary of Dante's death,
this hugely original book combines a close reading of Dante's
poetry with analysis of early optics and the art of the Renaissance
and Baroque to create a fascinating, wide-ranging and visually
exciting study.
An original and breathtakingly beautiful perspective on how art
developed through the ages, this book reveals how new materials and
techniques inspired artists to create their greatest works. The
Story of Painting will completely transform your understanding and
enjoyment of art. Covering a comprehensive array of topics, from
the first pigments and frescos to linear perspective in Renaissance
paintings, the influence of photography, Impressionism, and the
birth of modern art, it follows each step in the evolution of
painting over the last 25,000 years, from the first cave paintings
to the abstract works of the last 100 years. Packed with lavish
colour reproductions of paintings and photographs of artists at
work and the materials they used, it delves into the key paintings
from each period to analyse the techniques and secrets of the great
masters in detail. Immerse yourself in the pages of this stunning
book and find yourself dazzled by new colours; marvel at the magic
of perspective; wonder at glowing depictions of fabric and flesh;
understand cubism; and embrace abstraction. You will look at
paintings in a whole new light.
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-UEnver Rustem
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's capital. Rustem reclaims the label
"Ottoman Baroque" as a productive framework for exploring the
connectedness of Istanbul'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's cross-cultural
borrowings were combined with Byzantine references that asserted
the Ottomans' entitlement to the Classical artistic heritage of
Europe. Such aesthetic rebranding was part of a larger endeavor to
reaffirm the empire'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.
The first study devoted to classical art's vital creative impact on
the work of the Flemish master Peter Paul Rubens. For the great
Peter Paul Rubens (1577-1640), the classical past afforded lifelong
creative stimulus and the camaraderie of humanist friends. A
formidable scholar, Rubens ingeniously transmitted the physical
ideals of ancient sculptors, visualized the spectacle of imperial
occasions, rendered the intricacies of mythological tales, and
delineated the character of gods and heroes in his drawings,
paintings, and designs for tapestries. His passion for antiquity
profoundly informed every aspect of his art and life. Including
more than 150 color illustrations, this volume addresses the
creative impact of Rubens's remarkable knowledge of the art and
literature of antiquity through the consideration of key themes.
The book's lively interpretive essays explore the formal and
thematic relationships between ancient sources and Baroque
expressions: the significance of neo-Stoic philosophy, the
compositional and iconographic inspiration provided by exquisite
carved gems, Rubens's study of Roman marble sculpture, and his
inventive translation of ancient sources into new subjects made
vivid by his dynamic painting style. This volume is published to
accompany an exhibition on view at the J. Paul Getty Museum at the
Getty Villa October 21, 2020, to January 11, 2021.
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ARTEMISIA
(Hardcover)
Nathalie Ferlut; Illustrated by Tamia Baudouin; Translated by Maelle Doliveux
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R491
Discovery Miles 4 910
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The English-language edition of Nathalie Ferlut and Tamia
Baudouin's stunning biography of Artemisia Gentileschi, the
trailblazing Italian baroque painter, originally published in
French. This full-color graphic novel recounts the remarkable story
of Artemisia, whose life story is told through the lens of
Artemisia's daughter as she questions her mother about their family
history. The ensuing tale spans most of Gentileschi's life,
beginning with her childhood in Rome in her father's painting
studio, to the sexual abuse she experienced at the hands of a tutor
and the arduous trial that followed, as well as the highlights of
her prolific career in which she received commissions from clients
as powerful as the Medici and the English royal family and became
the first woman admitted to the prestigious Academy of Arts in
Florence.
Rembrandt's Light brings together 35 carefully selected paintings that
focus on Rembrandt's mastery of light and visual storytelling,
concentrating on his greatest years from 1639-1658, when he lived in
his ideal house at Breestraat in the heart of Amsterdam (today the
Museum Het Rembrandthuis). Its striking, light-infused studio was the
site for the creation of Rembrandt's most exceptional paintings, prints
and drawings including 'The Denial of St Peter' and 'The Artist's
Studio'.
Arranged thematically the book will trace Rembrandt's innovation: from
evoking a meditative mood, to lighting people, to creating impact and
drama. Highlights will include three of Rembrandt's most famous images
of women: 'A Woman Bathing in a Stream', 'A Woman in Bed' and the
inimitable 'Girl at a Window'.
Published to coincide with an exhibition at Dulwich Picture Gallery in
2019 with celebrations taking place throughout Europe to mark 350 years
since the artist's death (1669), this publication aims to refresh the
way we look at works by this incomparable Dutch Master.
This is the first book to concentrate on Dutch Golden Age painter
Frans Hals's highly innovative approach to male portraiture. Frans
Hals is one of the greatest portrait painters of all time and,
together with Rembrandt, is one of the most eminent
seventeenth-century Dutch artists. Published to coincide with the
Wallace Collection's exhibition of the same name, Frans Hals: The
Male Portrait explores the artist's highly innovative approach to
male portraiture, from the beginning of his career in the 1610s
until the end of his life in 1666. Through pose, expression and
virtuosic painterly technique, Hals revolutionised the male
portrait into something entirely new and fresh, capturing and
revealing his sitters' characters like no one else before him. This
book includes the first in-depth study of Hals's great masterpiece,
The Laughing Cavalier, from 1624. The extravagantly dressed young
man, confidently posed with his left arm akimbo in the extreme
foreground of the picture and seemingly penetrating into the
viewer's space, has been charming audiences for over a century.
Richly illustrated, Frans Hals: The Male Portrait situates The
Laughing Cavalier within the artist's larger oeuvre and
demonstrates how, at a relatively early point in his career, Hals
was able to achieve this great masterpiece.
Accompanying an exhibition of drawings by Guercino from the
collection of the Morgan Library & Museum, Guercino: Virtuoso
Draftsman offers an overview of the artist's graphic work, ranging
from his early genre studies and caricatures, to the dense and
dynamic preparatory studies for his paintings, and on to highly
finished chalk drawings and landscapes that were ends in
themselves. Giovanni Francesco Barbieri, known as Guercino
(1591-1666), was arguably the most interesting and diverse
draftsman of the Italian Baroque era, a natural virtuoso who
created brilliant drawings in a broad range of media. The Morgan
owns more than twenty-five works by the artist, and these are the
subject of a focused exhibition, supplemented by a handful of loans
from public and private New York collections, to be held at the
Morgan in the autumn of 2019. This volume accompanies that
exhibition. It includes an introductory essay on Guercino's work as
a draftsman followed by entries on the Guercino drawings in the
Morgan's collection. These include sheets from all moments of the
artist's career. His early awareness of the work of the Carracci in
Bologna is documented by figures drawn from everyday life as well
as brilliant caricatures; two drawings for Guercino's own drawing
manual are further testament to his interest in questions of
academic practice. Following his career, a range of preparatory
drawings includes studies made in connection with his earliest
altarpieces as well as his mature masterpieces, including multiple
studies for several projects, allowing the visitor to see
Guercino's mind at work as he reconsidered his ideas. The Morgan's
holdings also include studies for engravings as well as highly
finished landscape and figure drawings that were independent works.
Guercino: Virtuoso Draftsman continues a series of exhibition
catalogues focused on highlights from the Morgan's collection.
Previous volumes include Power and Grace: Drawings by Rubens, Van
Dyck, and Jordaens and Thomas Gainsborough: Experiments in Drawing,
also published by Paul Holberton. While some of the Morgan's
Guercino drawings are well known, they have never been exhibited or
published as a group, and the selection includes a number of new
acquisitions.
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.
A novel exploration of the threads of continuity, rivalry, and
self-conscious borrowing that connect the Baroque innovator with
his Renaissance paragon Gianlorenzo Bernini (1598-1680), like all
ambitious artists, imitated eminent predecessors. What set him
apart was his lifelong and multifaceted focus on Michelangelo
Buonarroti-the master of the previous age. Bernini's Michelangelo
is the first comprehensive examination of Bernini's persistent and
wide-ranging imitation of Michelangelo's canon (his art and its
rules). Prevailing accounts submit that Michelangelo's pervasive,
yet controversial, example was overcome during Bernini's time, when
it was rejected as an advantageous model for enterprising artists.
Carolina Mangone reconsiders this view, demonstrating how the
Baroque innovator formulated his work by emulating his divisive
Renaissance forebear's oeuvre. Such imitation earned him the
moniker "Michelangelo of his age." Investigating Bernini's
"imitatio Buonarroti" in its extraordinary scope and variety, this
book identifies principles that pervade his production over seven
decades in papal Rome. Close analysis of religious sculptures, tomb
monuments, architectural ornament, and the design of New Saint
Peter's reveals how Bernini approached Michelangelo's art as a
surprisingly flexible repertory of precepts and forms that he
reconciled-here with daring license, there with creative
restraint-to the aesthetic, sacred, and theoretical imperatives of
his own era. Situating Bernini's imitation in dialogue with that by
other artists as well as with contemporaneous writings on
Michelangelo's art, Mangone repositions the Renaissance master in
the artistic concerns of the Baroque from peripheral to pivotal.
Without Michelangelo, there was no Bernini.
According to recent research, Rubens is the most well known Flemish
master in the entire world. Following Masterpiece: Hieronymus
Bosch, Masterpiece: Peter Paul Rubens shows the paintings of this
Flemish master as never seen before. With amazing details and
full-page images this is an attractively priced pocket-size guide.
There is a commentary on the images by Till-Holger Borchert, the
director of Musea Brugge.
These ground-breaking essays, all based on original archival
research, consider the evolving interest in Bolognese art in
seventeenth-century Italy, particularly focusing on the period
after the death of Guido Reni in 1642. Edited by Bolognese
specialists Raffaella Morselli and Babette Bohn, the studies
collected here focus on the taste for Bolognese art within Bologna
itself and in other parts of the Italian peninsula, including
Mantua, Ferrara, Rome, and Florence. Essays examine the roles of
gender, class, and the social status of the artist in early modern
Bologna; approaches to exhibiting artworks in noble Bolognese
collections; the reputations of local women artists; the popularity
of Bolognese quadratura painting; and the relative success of both
contemporary and earlier Bolognese artists with Italian collectors.
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