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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800 > Baroque art
This is a new release of the original 1924 edition.
In this collection of nine essays some of the preeminent art
historians in the United States consider the relationship between
art and craft, between the creative idea and its realization, in
Renaissance and Baroque Italy. The essays, all previously
unpublished, are devoted to the pictorial arts and are accompanied
by nearly 150 illustrations. Examining works by such artists as
Michelangelo, Titian, Volterrano, Giovanni di Paolo, and Annibale
Carracci (along with aspects of the artists' creative processes,
work habits, and aesthetic convictions), the essayists explore the
ways in which art was conceived and produced at a time when
collaboration with pupils, assistants, or independent masters was
an accepted part of the artistic process. The consensus of the
contributors amounts to a revision, or at least a qualification, of
Bernard Berenson's interpretation of the emergent Renaissance ideal
of individual ""genius"" as a measure of original artistic
achievement: we must accord greater influence to the collaborative,
appropriative conventions and practices of the craft workshop,
which persisted into and beyond the Renaissance from its origins in
the Middle Ages. Consequently, we must acknowledge the sometimes
rather ordinary beginnings of some of the world's great works of
art--an admission, say the contributors, that will open new avenues
of study and enhance our understanding of the complex connections
between invention and execution. With one exception, these essays
were delivered as lectures in conjunction with the exhibition The
Artists and Artisans of Florence: Works from the Horne Museum
hosted by the Georgia Museum of Art in the fall of 1992.
Is it possible to talk about Dutch art after 1680 outside the
prevailing critical framework of the "age of decline"? Although an
increasing number of studies are being published on the art and
society of this period, genre painting of this era continues to be
dismissed as an uninspired repetition of the art of the second and
third quarters of the seventeenth century, known as the Dutch
Golden Age. In this stunningly illustrated study, Aono reconsiders
the long-dismissed genre painting from 1680-1750. Grounded in close
analysis of a range of paintings and primary sources, this study
illuminates the main features of genre painting, highlighting the
ways in which these elements related to the painters' close
connections to, on the one hand, collectors, and on the other, to
classicism, one of the dominant artistic styles of that time. Three
case studies, richly supplemented by a catalogue of 29 selected
painters and their work, offer the first clear picture of the genre
painting of the period while providing new insights into painters'
activities, collectors' tastes and the contemporary art market.
"A beautiful, intricate meditation on creativity and discovery, on
fire and rebirth." --Elizabeth Gilbert
Awestruck at the sight of a Grinling Gibbons carving in a London
church, David Esterly chose to dedicate his life to
woodcarving--its physical rhythms, intricate beauty, and
intellectual demands. Forty years later, he is the foremost
practitioner of Gibbons's forgotten technique, which revolutionized
ornamental sculpture in the late 1600s with its spectacular
cascades of flowers, fruits, and foliage.
After a disastrous fire at Henry VIII's Hampton Court Palace,
Esterly was asked to replace the Gibbons masterpiece destroyed by
the flames. It turned out to be the most challenging year in
Esterly's life, forcing him to question his abilities and delve
deeply into what it means to make a thing well. Written with a
philosopher's intellect and a poet's grace, "The Lost Carving"
explores the connection between creativity and physical work and
illuminates the passionate pursuit of a vocation that unites head
and hand and heart.
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Artemisia
(Paperback)
Alexandra Lapierre
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R401
R328
Discovery Miles 3 280
Save R73 (18%)
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Ships in 9 - 15 working days
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Artemisia Gentileschi is one of the most fascinating artists in
history. Apprenticed at an early age to her father, the
seventeenth-century painter Orazio Gentileschi, she rapidly became
more famous than he was, for her rich, dramatic canvases. But her
fame was tarnished by scandal. At the age of seventeen, she was
violently raped by Agostino Tassi, an artist friend of Orazio's. On
discovering Tassi's betrayal, Orazio took the case to court and
there followed, in 1612, eight months of humiliation for Artemisia
as the inhabitants of Rome's colourful artist's quarter came to
give evidence. Their testimony - frank, partial, often cruel - in
this first rape trial ever to be fully documented, made Artemisia
and her father notorious.
This new title in the highly regarded Art & Ideas series
presents a thorough introduction to the Baroque and Rococo styles.
Encompassing architecture, interior design, furniture, ceramics,
garden landscaping and theatrical spectaculars, as well as the
masterpieces of this prolific period in the Fine Arts, these styles
were global and had enormous impact on the history of art. Gauvin
Bailey clarifies the essence of the styles and examines their
complexities and contradictions, and their applications against the
backdrop of seventeenth- and eighteenth-century Europe, Latin
America and Asia. With 250 illustrations, well-known sculptures by
Bernini, paintings by Caravaggio and Rembrandt, and some of the
most famous buildings in the world are set in their creative milieu
with succinct analysis and broad clarity. Lesser known examples
from across the world demonstrate how the aesthetic trends of the
styles were concurrent throughout continents, and enlightens and
refreshes the implications of the terms.
An important reassessment of the later career and life of a beloved
baroque artist Hailed as one of the most influential and expressive
painters of the seventeenth century, Artemisia Gentileschi
(1593-ca. 1656) has figured prominently in the art historical
discourse of the past two decades. This attention to Artemisia,
after many years of scholarly neglect, is partially due to interest
in the dramatic details of her early life, including the widely
publicized rape trial of her painting tutor, Agostino Tassi, and
her admission to Florence's esteemed Accademia del Disegno. While
the artist's early paintings have been extensively discussed, her
later work has been largely dismissed. This beautifully illustrated
and elegantly written book provides a revolutionary look at
Artemisia's later career, refuting longstanding assumptions about
the artist. The fact that she was semi-illiterate has erroneously
led scholars to assume a lack of literary and cultural education on
her part. Stressing the importance of orality in Baroque culture
and in Artemisia's paintings, Locker argues for her important place
in the cultural dialogue of the seventeenth century.
This book, now in its second revised edition, studies the mechanics
of patronage of Roman Baroque sculpture produced for the Knights of
the Order of St John and discusses the extent of such patronage
together with the artistic and historical importance of the works
commissioned. Leading artists such as Alessandro Algardi, Ciro
Ferri and Melchiorre Cafa are thoroughly examined and new
attributions to others are made. Moreover, Sciberras research sheds
light on the lesser known aspects of the artistic liaisons between
Malta and Rome, on who took care of the Orders artistic affairs in
Rome and on how these works traveled to Malta. The book divides the
sculptural works of art into three categories: Those which
glorified the Orders patron St John the Baptist, the funerary
monuments of the Grand Masters, and those made for the service and
adoration of the Eucharist. Roman Baroque Sculpture for the Knights
of Malta is an outstanding work of intense research which provides
exhaustive detailed information. It is also a tribute to Maltas
most magnificent artistic period and to an Order that made it
possible. The book is published in collaboration with the
Department of History of the University of Malta.
"Medieval renaissance Baroque" celebrates Marilyn Aronberg Lavin's
breakthrough achievements in both the print and digital realms of
art and cultural history. Fifteen friends and colleagues present
tributes and essays that reflect every facet of this renowned
scholar's brilliant career. Tribute presenters include Ellen
Burstyn, Langdon Hammer, Phyllis Lambert, and James Marrow.
Contributors include Kirk Alexander, Horst Bredekamp, Nicola
Courtright, David Freedberg, Jack Freiberg, Marc Fumaroli, David A.
Levine, Daniel T. Michaels, Elizabeth Pilliod, Debra Pincus, and
Gary Schwartz. 79 illustrations, bibliography of Marilyn Lavin's
works, index.
"Medieval Renaissance Baroque" celebrates Marilyn Aronberg Lavin's
breakthrough achievements in both the print and digital realms of
art and cultural history. Fifteen friends and colleagues present
tributes and essays that reflect every facet of Lavin's brilliant
career. Tribute presenters include Ellen Burstyn, Langdon Hammer,
Phyllis Lambert, and James Marrow. Contributors include Kirk
Alexander, Horst Bredekamp, Nicola Courtright, David Freedberg,
Jack Freiberg, Marc Fumaroli, David A. Levine, Daniel T. Michaels,
Elizabeth Pilliod, Debra Pincus, and Gary Schwartz. 230 pages, 79
illustrations, bibliography of Marilyn Lavin's works, preface,
index.
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