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This engaging book is the first full study of the satirical print in seventeenth-century England from the rule of James I to the Regicide. It considers graphic satire both as a particular pictorial category within the wider medium of print and as a vehicle for political agitation, criticism, and debate. Helen Pierce demonstrates that graphic satire formed an integral part of a wider culture of political propaganda and critique during this period, and she presents many witty and satirical prints in the context of such related media as manuscript verses, ballads, pamphlets, and plays. She also challenges the commonly held notion that a visual iconography of politics and satire in England originated during the 1640s, tracing the roots of this iconography back into native and European graphic cultures and traditions.
The Erotics of Looking: Early Modern Netherlandish Art presents a collection of provocative essays that explore the material qualities of early Dutch art to reveal ways new forms of visual imagery solicit a beholder s involvement. * Explores how descriptive pictures during the early modern Dutch art period operated as social things and were designed to pleasurably engage the eye and prompt discussion and debate * Shows how these works potentially raised ethical and political questions about the interconnectedness of engaging with pictures and the material world * Represents a major contribution to the field of early modern Netherlandish art and to general debates about the status and functions of descriptive art * Features essays addressing a variety of aspects of the field, from the historiography of Dutch art to closely attentive readings of particular works * Crafts an original theoretical framework by applying recent insights about the making of early modern publics and the study of material things to the analysis of Netherlandish art
Meditations on the paradoxes generated around the ending of western slavery. In his tour-de-force ""Blind Memory"", Marcus Wood read the visual archive of slavery in eighteenth- and nineteenth-century America and Britain with a closeness and rigor that until then had been applied only to the written texts of that epoch. ""Blind Memory"" changed the way we look at everything from a Turner seascape to a crude woodcut in a runaway slave advertisement. ""The Horrible Gift of Freedom"" brings the same degree of rigor to an analysis of the visual culture of Atlantic emancipation. Wood takes a troubled and troubling look at the iconography inspired by the abolition of slavery across the Atlantic diaspora. Why, he asks, did imagery showing the very instant of the birth of black slave freedom invariably personify Liberty as a white woman? Where did the image of the enchained kneeling slave, ubiquitous in abolitionist visual culture on both sides of the Atlantic, come from? And, most important, why was freedom invariably depicted as a gift from white people to black people? In order to assess what the inheritance of emancipation imagery means now and to speculate about where it may travel in the future, Wood spends the latter parts of this book looking at the 2007 bicentenary of the 1807 Slave Trade Abolition Act. In this context a provocative range of material is analyzed including commemorative postage stamps, museum exhibits, street performances, religious ceremonies, political protests, and popular film. By taking a new look at the role of the visual arts in promoting the 'great emancipation swindle', Wood brings into the open the manner in which the slave power and its inheritors have single-mindedly focused on celebratory cultural myths that function to diminish both white culpability and black outrage. This book demands that the living lies developed around the memory of the emancipation moment in Europe and America need to be not only reassessed but demolished.
'The most important art historian of his generation' is how some scholars have described the late Michael Baxandall (1933-2007), Professor of the Classical Tradition at the Warburg Institute, University of London, and of the History of Art at the University of California, Berkeley. Baxandall's work had a transformative effect on the study of European Renaissance and eighteenth-century art, and contributed to a complex transition in the aims and methods of art history in general during the 1970s, '80s and '90s. While influential, he was also an especially subtle and independent thinker - occasionally a controversial one - and many of the implications of his work have yet to be fully understood and assimilated. This collection of 10 essays endeavors to assess the nature of Baxandall's achievement, and in particular to address the issue of the challenges it offers to the practice of art history today. This volume provides the most comprehensive assessment of Baxandall's work to date, while drawing upon the archive of Baxandall papers recently deposited at the Cambridge University Library and the Warburg Institute.
Dutch Genre Painting, Repetition, Innovation, Collecting, Art Market
George Stubbs (1724-1806), now recognized as one of the greatest and most original artists of the eighteenth century, stands out from other practitioners in the field of animal painting. His most frequent commissions were for paintings of horses, dogs, and wild animals, and his images invariably arrest attention and frequently strike a deeply poetic note. Stubbs did not emerge as a painter until he was in his mid-thirties, but then his genius flowered astonishingly. He steadily celebrates English sporting and country life and reveals himself-in his "incidental" portraits of jockeys and grooms, for example-as a perceptive observer of different levels of social behavior. Among his many experiments with technique were his chemical experiments with painting in enamels, first on copper and later on earthenware "tablets," manufactured for him in Wedgwood's potteries. This is the first full catalogue of Stubbs's paintings and drawings. Along with the full catalogue entries, the book offers a lengthy study of Stubbs's art and career.
Roughness is the sensual quality most often associated with Rembrandt's idiosyncratic style. It best defines the specific structure of his painterly textures, which subtly capture and engage the imagination of the beholder. Rembrandt's Roughness examines how the artist's unconventional technique pushed the possibilities of painting into startling and unexpected realms. Drawing on the phenomenological insights of Edmund Husserl as well as firsthand accounts by Rembrandt's contemporaries, Nicola Suthor provides invaluable new perspectives on many of the painter's best-known masterpieces, including The Anatomy Lesson of Dr. Deyman, The Return of the Prodigal Son, and Aristotle with a Bust of Homer. She focuses on pictorial phenomena such as the thickness of the paint material, the visibility of the colored priming, and the dramatizing element of chiaroscuro, showing how they constitute Rembrandt's most effective tools for extending the representational limits of painting. Suthor explores how Rembrandt developed a visually precise handling of his artistic medium that forced his viewers to confront the paint itself as a source of meaning, its challenging complexity expressed in the subtlest stroke of his brush. A beautifully illustrated meditation on a painter like no other, Rembrandt's Roughness reflects deeply on the intellectual challenge that Rembrandt's unrivaled artistry posed to the art theory of his time and its eminent role in the history of art today.
The whimsical imagery of four tapestries in the permanent collection of the J. Paul Getty Museum and currently on display at the Getty Center is perplexing. Created in France at the Beauvais manufactory between 1690 and 1730, these charming hangings, unlike most French tapestries of the period, appear to be purely decorative, with no narrative thread, no theological moral, and no allegorical symbolism. They belong to a series called the Grotesques, inspired by ancient frescos discovered during the excavation of the Roman emperor Nero's Domus Aurea, or Golden House, but the origins of their mysterious subject matter have long eluded art historians. Based on seven years of research, Conundrum: Puzzles in the Grotesques Tapestry Series reveals for the first time that the artist responsible for these designs, Jean-Baptiste Monnoyer (1636-1699), actually incorporated dozens of motifs and vignettes from a surprising range of sources: antique statuary, Renaissance prints, Mannerist tapestry, and Baroque art, as well as contemporary seventeenth century urban festivals, court spectacle, and theater. Conundrum illustrates the most interesting of these sources alongside full-color details and overall views of the four tapestries. The book's informative and engaging essay identifies and decodes the tapestries' intriguing visual puzzles, enlightening our understanding and appreciation of the series' unexpectedly rich intellectual underpinnings.
From court portraits for the Spanish royals to horrific scenes of conflict and suffering, Francisco Jose de Goya y Lucientes (1746-1828) made a mark as one of Spain's most revered and controversial artists. A master of form and light, his influence reverberates down the centuries, inspiring and fascinating artists from the Romantic Eugene Delacroix to Britart enfants terribles, the Chapman brothers. Born in Fuendetodos, Spain, in 1746, Goya was apprenticed to the Spanish royal family in 1774, where he produced etchings and tapestry cartoons for grand palaces and royal residences across the country. He was also patronized by the aristocracy, painting commissioned portraits of the rich and powerful with his increasingly fluid and expressive style. Later, after a bout of illness, the artist moved towards darker etchings and drawings, introducing a nightmarish realm of witches, ghosts, and fantastical creatures. It was, however, with his horrific depictions of conflict that Goya achieved enduring impact. Executed between 1810 and 1820, The Disasters of War was inspired by atrocities committed during the Spanish struggle for independence from the French and penetrated the very heart of human cruelty and sadism. The bleak tones, agitated brushstrokes, and aggressive use of Baroque-like light and dark contrasts recalled Velazquez and Rembrandt, but Goya's subject matter was unprecedented in its brutality and honesty. In this introductory book from TASCHEN Basic Art 2.0 we set out to explore the full arc of Goya's remarkable career, from elegant court painter to deathly seer of suffering and grotesquerie. Along the way, we encounter such famed portraits as Don Manuel Osorio Manrique de Zuniga, the dazzling Naked Maja, and The 3rd of May 1808 in Madrid, one of the most heart-stopping images of war in the history of art. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions
A revised survey of Rembrandt's complete painted oeuvre. The question of which 17th-century paintings in Rembrandt's style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today. The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others. The question is how to determine which works were from Rembrandt's own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master's work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The book provides answers to these questions. Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt's paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt. The verdicts of earlier specialists - including the majority of members of the original RRP (up to 1989) - were based on connoisseurship: the self-confidence in one's ability to recognise a specific artist's style and 'hand'. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt's time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist. The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering's account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account. The catalogue section presents a chronologically ordered survey of Rembrandt's entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt's world and the world of art-historical research. Rembrandt's Paintings Revisited is the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson's influential survey of Rembrandt's painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings. This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
Precisely rendered to dazzle the eye with their botanical accuracy, the sumptuous arrays of fruit and flowers by Dutch painter Jan van Huysum (1682-1749) were among the most avidly collected paintings of the 18th century. The arrangements were painstakingly executed over many months and commanded exceptionally high prices from collectors throughout Europe. This delightful little book explores two of Van Huysum's most important still-life paintings, "Vase of Flowers" and "Fruit Piece", showing how his inimitable technique resulted in an illusion that continues to captivate us today. The book's sumptuous plates reveal the artist's highly nuanced palette, and his exuberant, asymmetrical arrangements reflect emerging rococo rhythms.
Caroline of Ansbach (1683-1737), Augusta of Saxe-Gotha (1719-1772), and Charlotte of Mecklenberg-Strelitz (1744-1818) were three German princesses who became Queens Consort-or, in the case of Augusta, Queen in Waiting, Regent, and Princess Dowager-of Great Britain, and were linked by their early years at European princely courts, their curiosity, aspirations, and an investment in Enlightenment thought. This sumptuously illustrated book considers the ways these powerful, intelligent women left enduring marks on British culture through a wide range of activities: the promotion of the court as a dynamic forum of the Hanoverian regime; the enrichment of the royal collection of art; the advancement of science and industry; and the creation of gardens and menageries. Objects included range from spectacular state portraits to pedagogical toys to plant and animal specimens, and reveal how the new and novel intermingled with the traditional.
This wide-ranging study traces the forces that drove the production and interpretation of visual images of Shakespeare's plays. Covering a rich chronological terrain, from the beginning of the eighteenth century to the midpoint of the nineteenth, Stuart Sillars offers a multidisciplinary, nuanced approach to reading Shakespeare in relation to image, history, text, book history, print culture and performance. The volume begins by relating the production imagery of Shakespeare's plays to other visual forms and their social frames, before discussing the design and operation of illustrated editions and the 'performance readings' they offer, and analysing the practical and theoretical foundations of easel paintings. Close readings of The Comedy of Errors, King Lear, the Roman plays, The Merchant of Venice and Othello provide detailed insight into how the plays have been represented visually, and are accompanied by numerous illustrations and a beautiful colour plate section.
For many people Vermeer's paintings form the highlight of a visit to the Maurithuis. This museum holds three of his paintings; Diana and Her Companions, the exquisite View of Delft and the Girl with a Pearl Earring, all of which have become some of the world's most beloved paintings. Vermeer in the Mauritshuis is aimed at those who want to find out more about these three works of art. This beautifully designed book displays many of the meticulous details that appear in these paintings and explores their relationship with the rest of Vermeer's impressive oeuvre. Selected fragments from the paintings draw attention to aspects that might otherwise go unnoticed; such as the moist lips of the girl in Girl with a Pearl Earring, the play of sunlight on the Nieuwe Kerk in Delft as well as one of the most stunning water reflections in art history. This is the first volume in a series of publications about prominent pieces in the rich collection of the Mauritshuis.
This is the catalogue of the 2018 Leeds exhibition celebrating the tercentenary of Thomas Chippendale's birth. It covers all 95 exhibits including furniture, drawings, engravings, textiles and wallpaper, together with other contemporary and later material. Each entry is illustrated in colour, with supporting images in both colour and black and white. Also included are introductory essays to each section of the exhibition, covering Chippendale's life and career, his furniture styles, his relationships with customers, and his legacy from the 18th century to the present day.
For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility--not just for themselves as individuals, but for their entire class or industry.
In "Citizen Portrait," Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art.
In this lucid, witty book, the eminent art historian Jonathan Brown examines links between his personal life and his study of Hispanic art of the Golden Age. His adventures are offered as a model for understanding how art history is shaped by life experiences, and he describes the influence of his parents, Jean and Leonard Brown, noted collectors of documentation of 20th-century avant-garde movements.His turn to research on the Golden Age of Spanish art was motivated by a year in Madrid, 1958-59. Art history in Spain was modeled on the policies of the Franco regime, and Brown sought to find different ways to interpret Spanish painting. His approach is demonstrated by fresh insight into painters, including Velazquez. A new interpretation of Las Meninas is proposed and the perils of attribution are examined. Later in his career, Brown began to study the transformation of Spanish art in the Americas. The book originated as a series of six lectures delivered at the Museo Nacional del Prado in 2012.
The first comprehensive English monograph on an outstanding 17th-century artist In the years following Caravaggio's death, the French-born painter Valentin de Boulogne (1591-1632) emerged as one of the greatest masters of naturalistic painting, demonstrating the influence of Caravaggio's style and subject matter. This book, the first complete monograph of his work in English, features more than 50 lushly illustrated paintings by Valentin, as well as numerous comparative works that help situate his oeuvre. Essays by an international team of experts explore Valentin's masterful depictions of everyday life as well as the tumult and violence of 17th-century Rome, where he lived and worked. This comprehensive survey brings to light a radical but under-recognized practitioner of realism whose powerful works prefigured the modernity of 19th-century artists such as Gustave Courbet.
In 1752 Charles-Joseph Natoire, then a highly successful painter, assumed the directorship of the prestigious Academie de France in Rome. Twenty-three years later he was removed from office, criticised as being singularly inept. What was the basis for this condemnation that has been perpetuated by historians ever since? Reed Benhamou's re-evaluation of Natoire's life and work at the Academie is the first to weigh the prevailing opinion against the historical record. The accusations made against Charles-Joseph Natoire were many and varied: that his artistic work was increasingly unworthy of serious study; that he demeaned his students; that he was a religious bigot; that he was a fraudulent book-keeper. Benhamou evaluates these and other charges in the light of contemporary correspondences, critics' assessment of his work, legal briefs, royal accounts and the parallel experiences of his precursors and successors at the Academie. The director's role is shown to be multifaceted and no director succeeded in every area. What is arresting is why Natoire was singled out as being uniquely weak, uniquely bigoted, uniquely incompetent. The Charles-Joseph Natoire who emerges from this book differs in nearly every respect from the unflattering portrait promulgated by historians and popular media. His increasingly iconoclastic students rebelled against the traditional qualities valued by the French artistic elite; the Academie went underfunded because of the effects of war and a profligate king, and he was caught between two competing institutional regimes. In this book Reed Benhamou not only unravels the myth and reality surrounding Natoire, but also also sheds light on the workings of the institution he served for nearly a quarter of a century.
The Russian Canvas charts the remarkable rise of Russian painting in the 18th and 19th centuries, and the nature of its relationship with other European schools. Starting with the foundation of the Imperial Academy of the Arts in 1757 and culminating with the assassination of Tsar Alexander II in 1881, it details the professionalization and wide-ranging activities of painters against a backdrop of dramatic social and political change. The Imperial Academy formalized artistic training but later became a foil for dissent, as successive generations of painters negotiated their own positions between pan-European engagement and local and national identities. Drawing on original archival research, this groundbreaking book recontextualizes the work of major artists, revives the reputations of others, and explores the complex developments that took Russian painters from provincial anonymity to international acclaim.
The popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.
An exquisitely illustrated volume that emphasizes the importance of drawing in Fragonard's creative process One of the most forward-looking artists in 18th-century France, Jean-Honore Fragonard (1732-1806) is considered the preeminent draftsman of his time. This fresh assessment of the artist focuses on the role of drawing in his creative process and showcases Fragonard's mastery and experimentation with drawing in a range of media, from vivid red chalk to luminous brown wash, as well as etching, watercolor, and gouache. Unlike many old master painters, Fragonard explored the potential of drawings as works of art in their own right, ones that permitted him to work with great freedom and allowed his genius to shine. The drawings featured here come from public and private collections in New York, balancing a mix of well-loved masterpieces, new discoveries, and works that have long been out of the public eye.
This magnificent catalogue, in three volumes and with nearly 2,000 illustrations, will restore George Romney (1734-1802) to his long-overdue position - with his contemporaries Reynolds and Gainsborough - as a master of 18th-century British portrait painting. The product of impressive and thorough research undertaken over the course of 20 years, Alex Kidson asserts Romney's status as one of the greatest British painters, whose last catalogue raisonne was published over 100 years ago. In more than 1,800 entries, many supported by new photography, Kidson aims to solve longstanding issues of attribution, distinguishing genuine pictures by Romney from works whose traditional attribution to him can no longer be supported. The author's insights are guided by rich primary source material on Romney-including account books, ledgers, and sketchbooks-as well as secondary sources such as prints after lost works, newspaper reports and reviews, and writings by Romney's contemporaries.
The profession of sculpture was transformed during the eighteenth century as the creation and appreciation of art became increasingly associated with social interaction. Central to this transformation was the esteemed yet controversial body, the Academie royale de peinture et de sculpture. In this richly illustrated book, Tomas Macsotay focuses on the sculptor's life at the Academie, analysing the protocols that dictated the production of academic art. Arguing that these procedures were modelled on the artist's study journey to Rome, Macsotay discusses the close links between working practices introduced at the Academie and new notions of academic community and personal sensibility. He explores the bodily form of the morceau de reception on which the election of new members depended, and how this shaped the development of academic ideas and practices. Macsotay also reconsiders the early revolutionary years, where outside events exacerbated tensions between personal autonomy and institutional authority. The Profession of sculpture in the Paris Academie underscores the moral and aesthetic divide separating modern interpretations of sculpture based on notions of the individual artistic persona, and eighteenth-century notions of sociable production. The result is a book which takes sculpture outside the national arena, and re-focuses attention on its more subjective role, a narrative of intimate life in a modern world. Winner of the Prix Marianne Roland Michel 2009. Contains 90 illustrations.
During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. They became among the most important genres of painting. Not merely mimetic representations of their subjects, many of these works create a new dialogic relationship with the viewer. Ann Jensen Adams examines four portrait genres - individuals, the family, history portraits, and civic guards. She analyzes these works in relation to inherited visual traditions, contemporary art theory, changing cultural beliefs about the body, about sight, and the image itself, as well as to current events. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the 'economic miracle' that has come to be known as the Dutch Golden Age.
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