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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800 > Baroque art
Peter Paul Rubens was the most inventive and prolific northern
European artist of his age. This book discusses his life and work
in relation to three interrelated themes: spirit, ingenuity and
genius. It argues that Rubens and his reception were pivotal in the
transformation of early modern ingenuity into Romantic genius.
Ranging across the artist's entire career, it explores Rubens's
engagement with these themes in his art and biography. The book
looks at Rubens's forays into altarpiece painting in Italy as well
as his collaborations with fellow artists in his hometown of
Antwerp, and his complex relationship with the spirit of pleasure.
It concludes with his late landscapes in connection to genius loci,
the spirit of the place.
Gardens of Court and Country provides the first comprehensive
overview of the development of the English formal garden from 1630
to 1730. Often overshadowed by the English landscape garden that
became fashionable later in the 18th century, English formal
gardens of the 17th century displayed important design innovations
that reflected a broad rethinking of how gardens functioned within
society. With insights into how the Protestant nobility planned and
used their formal gardens, the domestication of the lawn, and the
transformation of gardens into large rustic parks, David Jacques
explores the ways forecourts, flower gardens, bowling greens,
cascades, and more were created and reimagined over time. This
handsome volume includes 300 illustrations - including plans,
engravings, and paintings - that bring lost and forgotten gardens
back to life. Published in association with the Paul Mellon Centre
for Studies in British Art
Jennifer Montagu is a world-renowned art historian whose name has
become synonymous with the study of Italian Baroque sculpture. In
honor of Jennifer Montagu's immeasurable contribution to the field
of Italian Baroque sculpture, sixty-two of the foremost scholars of
European sculpture have been invited to participate in a symposium
in her honor on 6 - 7 September 2013 at the Wallace Collection,
London. Thirty of the papers presented there were selected for the
publication as a tribute to this generous colleague and friend who
has inspired and mentored dozens of younger historians in European
art. Dr. Montagu's academic work began in Political Science at
Oxford, but conversations with Ernst Gombrich led her to pursue an
advanced degree in art history instead. In 1963, long before the
study of Italian bronze statuettes reached the level of interest
that it enjoys today, her classic survey, simply titled Bronzes,
was met with great enthusiasm, eventually being printed in five
languages. Montagu taught at the University of Reading until 1964,
when she became an assistant curator of the Photographic Collection
at the Warburg Institute. In 1971 she became a full curator of the
collection, a position she held until 1991. During these years she
published at an indefatigable rate, and following her retirement
from that post, her productivity only increased. Montagu was a
Slade Professor of Fine Art at Cambridge University, a Mellon
Professor at the Center for Advanced Study in the Visual Arts
(National Gallery of Art,Washington, D.C.), and a visiting
professor at the College de France. Montagu's numerous publications
include her monumental study of Alessandro Algardi (Yale University
Press, 1985), Roman Baroque Sculpture: the Industry of Art (Yale,
1989) and Gold, Silver and Bronze: Metal Sculpture of the Italian
Baroque (Mellon Lectures, CASVA; Yale University Press, 1996). She
was appointed LVO (Royal Victorian Order) in 2006 for services to
the Royal Collection and CBE (Commander of the Most Excellent Order
of the British Empire) in 2012 for her contribution to the history
of art.
Always recognised as a master print from the moment of its
appearance around 1649, the Hundred Guilder Print is one of
Rembrandt's most compositionally complex and visually beautiful
works. This book gives a full overview of the fascinating story
surrounding this print, from its genesis and market value to
attitudes towards it in the present day. Focusing on the tradition
of printmaking as well as the reception of the print in Rembrandt's
time, Golahny explores the ways the artist made visual references
to the work of such masters as Michelangelo, Raphael and Leonardo
da Vinci, while uniquely combining aspects of Christ's ministry.
Placing the work within its wider cultural and historical context,
Rembrandt's Hundred Guilder Print offers an original and engaging
approach to current Rembrandt scholarship and is essential reading
for anyone interested in the work of one of the most famous artists
of the Dutch Global Age.
This is a rich exploration of the role the Baroque master played in
the Counter-Reformation. The art of Rubens is rooted in an era
darkened by the long shadow of devastating wars between Protestants
and Catholics. In the wake of this profound schism, the Catholic
Church decided to cease using force to propagate the faith. Like
Gian Lorenzo Bernini, Peter Paul Rubens (1577-1640) sought to
persuade his spectators to return to the true faith through the
beauty of his art. While Rubens is praised for the "baroque
passion" in his depictions of cruelty and sensuous abandon, nowhere
did he kindle such emotional fire as in his religious subjects.
Their colour, warmth, and majesty - but also their turmoil and
lamentation - were calculated to arouse devout and ethical
emotions. This fresh consideration of the images of saints and
martyrs Rubens created for the churches of Flanders and the Holy
Roman Empire offers a masterly demonstration of Rubens'
achievements, liberating their message from the secular
misunderstandings of the post-religious age and showing them in
their intended light.
This classic survey of Italian Baroque art and architecture focuses
on the arts in every center between Venice and Sicily in the early,
high, and late Baroque periods. The heart of the study, however,
lies in the architecture and sculpture of the exhilarating years of
Roman High Baroque, when Bernini, Borromini, and Cortona were all
at work under a series of enlightened popes. Wittkower's text is
now accompanied by a critical introduction and substantial new
bibliography. This edition will also include color illustrations
for the first time. This is the third book in the three volume
survey.
An Italian village on a hilltop near the Adriatic coast, a decaying
palazzo facing the sea, and in the basement, cobwebbed and dusty,
lit by a single bulb, an archive unknown to scholars. Here, a young
graduate student from Rome, Francesca Cappelletti, makes a
discovery that inspires a search for a work of art of incalculable
value, a painting lost for almost two centuries.
The artist was Caravaggio, a master of the Italian Baroque. He was
a genius, a revolutionary painter, and a man beset by personal
demons. Four hundred years ago, he drank and brawled in the taverns
and streets of Rome, moving from one rooming house to another,
constantly in and out of jail, all the while painting works of
transcendent emotional and visual power. He rose from obscurity to
fame and wealth, but success didn't alter his violent temperament.
His rage finally led him to commit murder, forcing him to flee Rome
a hunted man. He died young, alone, and under strange
circumstances.
Caravaggio scholars estimate that between sixty and eighty of his
works are in existence today. Many others-no one knows the precise
number-have been lost to time. Somewhere, surely, a masterpiece
lies forgotten in a storeroom, or in a small parish church, or
hanging above a fireplace, mistaken for a mere copy.
Prizewinning author Jonathan Harr embarks on an spellbinding
journey to discover the long-lost painting known as The Taking of
Christ-its mysterious fate and the circumstances of its
disappearance have captivated Caravaggio devotees for years. After
Francesca Cappelletti stumbles across a clue in that dusty archive,
she tracks the painting across a continent and hundreds of years of
history. But it is not until she meets Sergio Benedetti, an art
restorer working in Ireland, that she finally manages to assemble
all the pieces of the puzzle.
Told with consummate skill by the writer of the bestselling,
award-winning "A Civil Action," The Lost Painting is a remarkable
synthesis of history and detective story. The fascinating details
of Caravaggio's strange, turbulent career and the astonishing
beauty of his work come to life in these pages. Harr's account is
not unlike a Caravaggio painting: vivid, deftly wrought, and
enthralling.
." . . Jonathan Harr has gone to the trouble of writing what will
probably be a bestseller . . . rich and wonderful. . .in truth, the
book reads better than a thriller because, unlike a lot of
best-selling nonfiction authors who write in a more or less
novelistic vein (Harr's previous book, "A Civil Action," was made
into a John Travolta movie), Harr doesn't plump up hi tale. He
almost never foreshadows, doesn't implausibly reconstruct entire
conversations and rarely throws in litanies of clearly conjectured
or imagined details just for color's sake. . .if you're a sucker
for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly
reported details about life in the city, as when--one of my
favorite moments in the whole book--Francesca and another young
colleague try to calm their nerves before a crucial meeting with a
forbidding professor by eating gelato. And who wouldn't in Italy?
The pleasures of travelogue here are incidental but not
inconsiderable." --"The New York Times Book Review"
"Jonathan Harr has taken the story of the lost painting, and
woven from it a deeply moving narrative about history, art and
taste--and about the greed, envy, covetousness and professional
jealousy of people who fall prey to obsession. It is as perfect a
work of narrative nonfiction as you could ever hope to read."
--"The Economist"
"From the Hardcover edition."
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