The cultural milieu in the "Age of Goethe" of eighteenth-century Germany is given fresh context in this art historical study of the noted writers' patroness: Anna Amalia, Duchess of Weimar-Sachsen-Eisenach. An important noblewoman and patron of the arts, Anna Amalia transformed her court into one of the most intellectually and culturally brilliant in Europe; this book reveals the full scope of her impact on the history of art of this time and place. More than just biography or a patronage study, this book closely examines the art produced by German-speaking artists and the figure of Anna Amalia herself. Her portraits demonstrate the importance of social networks that enabled her to construct scholarly, intellectual identities not only for herself, but for the region she represented. By investigating ways in which the duchess navigated within male-dominated institutions as a means of advancing her own self-cultivation - or Bildung - this book demonstrates the role accorded to women in the public sphere, cultural politics, and historical memory. Cumulatively, Christina K. Lindeman traces how Anna Amalia, a woman from a small German principality, was represented as an active participant in enlightened discourses. The author presents a novel and original argument concerned with how a powerful woman used art to shape her identity, how that identity changed over time, and how people around her shaped it - an approach that elucidates the power of portraiture in eighteenth- and early nineteenth-century Europe.

Was there a continuity between the "vigorous art and the seminal science" of the seventeenth century? How did they affect one another? Which, if either, was dominant? Four distinguished scholars explore the relation between seventeenth century science and the creative arts in a series of four essays: Introduction, by Stephen E. Toulmin of Columbia; Science and Literature, by Douglas Bush of Harvard; Science and Visual Art, by James S. Ackerman of Harvard; and Scientific Empiricism in Musical Thought, by Claude V. Palisca of Yale. Originally published in 1961. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In a major analysis of pictorial forms from the late Middle Ages to the Enlightenment, Christopher Braider argues that the painted image provides a metaphor and model for all other modes of expression in Western culture--particularly literature, philosophy, religion, and science. Because critics have conventionally explained visual images in terms of verbal texts (Scripture, heroic poetry, and myth), they have undervalued the impact of the pictorial naturalism practiced by painters from the fifteenth century onward and the fundamentally new conception of reality it conveys. By reinterpreting modern Western experience in light of northern "descriptive art," the author enriches our understanding of how both painted and written cultural texts shape our perceptions of the world at large. Throughout Braider draws on works by such painters as van der Weyden, Bruegel the Elder, Steen, Vermeer, Rembrandt, and Poussin, and addresses such topics as the Incarnation of the Word in Christ, the elegiac foundations of Enlightenment aesthetics, and the rivalry between northern and southern art. His goal is not only to reexamine important aesthetic issues but also to offer a new perspective on the general intellectual and cultural history of the modern West. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

By the end of the eighteenth century, the arts had been surveyed by an unprecedented series of major works on literature, music, and painting of which the author or this book provides a rich and comprehensive analysis. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Mount Fuji has long been a centerpiece of Japanese cultural imagination, and nothing captures this with more virtuosity than the landmark woodblock print series Thirty-six Views of Mount Fuji by Katsushika Hokusai (1760-1849). The renowned printmaker documents 19th-century Japan with exceptional artistry and adoration, celebrating its countryside, cities, people, and serene natural beauty. Produced at the peak of Hokusai's artistic ambition, the series is a quintessential work of ukiyo-e that earned the artist world-wide recognition as a leading master of his craft. The prints illustrate Hokusai's own obsession with Mount Fuji as well as the flourishing domestic tourism of the late Edo period. Just as the mountain was a cherished view for travelers heading to the capital Edo (now Tokyo) along the Tokaido road, Mount Fuji is the infallible backdrop to each of the series' unique scenes. Hokusai captures the distinctive landscape and provincial charm of each setting with a vivid palette and exquisite detail. Including the iconic Under the Great Wave off Kanagawa (also The Great Wave), this widely celebrated series is a treasure of international art history. Among only a few complete reprints of the series, this XXL edition pays homage to Hokusai's striking colors and compositions with unprecedented care and magnitude. Bound in the Japanese tradition with uncut paper, Thirty-six Views of Mount Fuji presents the original 36 plates plus the additional 10 later added by the artist. The perfect companion piece to TASCHEN's One Hundred Views of Edo and The Sixty-Nine Stations along the Kisokaido, this publication paints an enchanting picture of pre-industrial Japan and is itself a stunning monument to the art of woodblock printing.

The historical trajectory of decadent culture runs from ancient Rome, to nineteenth-century Paris, Victorian London, fin de siecle Vienna, Weimar Berlin, and beyond. The first of these, the decline of Rome, provides the pattern for both aesthetic and social decadence, a pattern that artists and writers in the nineteenth century imitated, emulated, parodied, and otherwise manipulated for aesthetic gain. What begins as the moral condemnation of modernity in mid-nineteenth century France on the part of decadent authors such as Charles Baudelaire ends up as the perverse celebration of the pessimism that imperial decline, whether real or imagined, involves. This delight in decline informs the so-called breviary, or even bible, of decadence from Joris-Karl Huysmans's A Rebours, Oscar Wilde's The Picture of Dorian Gray, Aubrey Beardsley's drawings, Gustav Klimt's paintings, and numerous other works. In this Very Short Introduction, David Weir explores these conflicting attitudes towards modernity present in decadent culture by examining the difference between aesthetic decadence - the excess of artifice - and social decadence, which involves excess in a variety of forms, whether perversely pleasurable or gratuitously cruel. Such contrariness between aesthetic and social decadence led some of its practitioners to substitute art for life and to stress the importance of taste over morality, a maneuver with far-reaching consequences, especially as decadence enters the realm of popular culture today. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

"Using the palace records from the Vatican's Secret Archives, Ruprecht demonstrates that the Vatican museum was the brainchild of J.J. Winckelmann, the so-called father of Art History. Tracing both Winckelmann's secret involvement in the emergence of modern art museums and modern art history and their emergence from within religious institutions, the author offers a new perspective on the relationship of religion and art in the modern world"--

Gothic Architecture and Sexuality in the Circle of Horace Walpole shows that the Gothic style in architecture and the decorative arts and the tradition of medievalist research associated with Horace Walpole (1717–1797) and his circle cannot be understood independently of their own homoerotic culture. Centered around Walpole’s Gothic villa at Strawberry Hill in Twickenham, Walpole and his “Strawberry Committee” of male friends, designers, and dilettantes invigorated an extraordinary new mode of Gothic design and disseminated it in their own commissions at Old Windsor and Donnington Grove in Berkshire, Lee Priory in Kent, the Vyne in Hampshire, and other sites. Matthew M. Reeve argues that the new “third sex” of homoerotically inclined men and the new “modern styles” that they promoted—including the Gothic style and chinoiserie—were interrelated movements that shaped English modernity. The Gothic style offered the possibility of an alternate aesthetic and gendered order, a queer reversal of the dominant Palladian style of the period. Many of the houses built by Walpole and his circle were understood by commentators to be manifestations of a new queer aesthetic, and in describing them they offered the earliest critiques of what would be called a “queer architecture.” Exposing the role of sexual coteries in the shaping of eighteenth-century English architecture, this book offers a profound and eloquent revision to our understanding of the origins of the Gothic Revival and to medievalism itself. It will be welcomed by architectural historians as well as scholars of medievalism and specialists in queer studies.

The global porcelain scene is celebrating the 40th anniversary of the International Ceramics Fair and Seminar, which was founded by Brian Haughton and his wife, Anna, in London in 1982. That was just the beginning: further fairs and accompanying symposia on design, jewellery, and antiques in New York and Dubai were to follow, becoming important venues of exchange, not just for trade but for the academic world too. To mark this anniversary, more than 40 renowned scholars were asked to write about selected European ceramics that had been traded in Brian Haughton's gallery and that he had been particularly passionate about. This publication is a wonderful kaleidoscope of unique ceramics from the 18th and 19th centuries, released as a homage to Brian Haughton, The Man with the Butterfly Tie.

Peter Paul Rubens (1577-1640) proudly described his monumental painting Prometheus Bound as first among "the flower of my stock." This singular work demonstrates how Rubens engaged with and responded to his predecessors Michelangelo and Titian, with whom he shared an interest in depictions of physical torment. The Wrath of the Gods offers an in-depth case study of the Flemish artist's creative process and aesthetic, while also demonstrating why this particular painting has appealed to viewers over time. Many scholars have elaborated on Rubens's affinity for Titian, but his connection to Michelangelo has received far less attention. This study presents a new interpretation of Prometheus Bound, showing how Rubens created parallels between the pagan hero Prometheus and Michelangelo's Risen Christ from the Sistine Chapel's Last Judgment. Christopher D. M. Atkins expands our understanding of artistic transmission by elucidating how Rubens synthesized the works he saw in Italy, Spain, and his native Antwerp, and how Prometheus Bound in turn influenced Dutch, Flemish, and Italian artists. By emulating Rubens's composition, these artists circulated it throughout Europe, broadening its influence from his day to ours. Published in association with the Philadelphia Museum of Art Exhibition Schedule: Philadelphia Museum of Art (09/12/15-12/06/15)

Martin Lister, royal physician and fellow of the Royal Society, was an extraordinarily prolific natural historian with an expertise in shells and molluscs. Disappointed with the work of established artists, Lister decided to teach his daughters, Susanna and Anna, how to illustrate the specimens he studied. The sisters became so skilled at this that Lister entrusted them with his great work, 'Historiae Conchyliorum', assembled between 1685 and 1692. This first comprehensive study of conchology consisted of over 1,000 copperplates of shells and molluscs collected from around the world. 'Martin Lister and his Remarkable Daughters' reconstructs the creation of this masterwork, from the identification of the original shells to the drawings themselves, and from the engraved copperplates to the draft prints and final books. Susanna and Anna portrayed the shells not only as curious and beautiful objects, but also as specimens of natural history rendered with sensitivity and keen scientific empiricism. Beautiful in their own right, these illustrations and engravings reveal the early techniques behind scientific illustration together with the often unnoticed role of women in the scientific revolution.

This book illuminates the original meanings of seventeenth- and early-eighteenth-century mural paintings in Britain. At the time, these were called 'histories'. Throughout the eighteenth century, though, the term became directly associated with easel painting and, as 'history painting' achieved the status of a sublime genre, any link with painted architectural interiors was lost. Whilst both genres contained historical figures and narratives, it was the ways of viewing them that differed. Lydia Hamlett emphasises the way that mural paintings were experienced by spectators within their architectural settings. New iconographical interpretations and theories of effect and affect are considered an important part of their wider historical, cultural and social contexts. This book is intended to be read primarily by specialists, graduate and undergraduate students with an interest in new approaches to British art of the seventeenth and eighteenth centuries.

By the end of the eighteenth century a distinctly modern vision of life was emerging. The revolutions in America and France revealed new beliefs about human nature, rights and duties, the natural and material worlds, and a new faith in science, technology and the idea of progress. As people began to change the way they thought about themselves and the world around them, a whole new way of thinking developed, which still has an overwhelming impact two centuries on.
The Enlightenment brings together the work of major Enlightenment thinkers to illustrate the full importance and achievements of this period in history. Extracts are gathered thematically into sections on such aspects of the Enlightenment as political theory, religion and belief, art and nature. In each section, the texts are introduced and a final section on 'Critical Reflections' provides a selection of modern critical opinions on the period.

The most famous 18th-century copper engraver, Giovanni Battista Piranesi (1720-1778) made his name with etchings of ancient Rome. His startling, chiaroscuro images imbued the city's archaeological ruins with drama and romance and became favorite souvenirs for the Grand Tourists who traveled Italy in pursuit of classical culture and education. Today, Piranesi is renowned not just for shaping the European imagination of Rome, but also for his elaborate series of fanciful prisons, Carceri, which have influenced generations of creatives since, from the Surrealists to Samuel Taylor Coleridge, Edgar Allan Poe, Jorge Luis Borges, and Franz Kafka. Loosely based on contemporary stage sets rather than the actual dingy dungeons of Piranesi's day, these intricate images defy architectural reality to play instead with perspective, lighting, and scale. Staircases exist on two planes simultaneously; vast, vaulted ceilings seem to soar up to the heavens; interior and exterior distinctions collapse. With a low viewpoint and small, fragile figures, the prison scenes become monstrous megacities of incarceration, celebrated to this day as masterworks of existentialist drama.

This book examines the sociocultural networks between the courts of early modern Italy and Europe, focusing on the Florentine Medici court, and the cultural patronage and international gendered networks developed by the Grand Duchess of Tuscany, Vittoria della Rovere. Adelina Modesti uses Grand Duchess Vittoria as an exemplar of pan-European 'matronage' and proposes a new matrilineal model of patronage in the early modern period, one in which women become not only the mediators but also the architects of public taste and the transmitters of cultural capital. The book will be the first comprehensive monographic study of this important cultural figure. This study will be of interest to scholars working in art history, gender studies, Renaissance studies and seventeenth-century Italy.

One of the most creative and accessible periods of art the world has ever known, the Golden Age is brought to life in an unprecedented series of biographies of the artists active in the Netherlands during the 17th-century. Painters in the Dutch Republic specialized in portraits, domestic genre scenes, still-lives, and landscapes--metaphors of the tiny new country's immense pride and wealth. This book features biographies on all the great masters from Frans Hals to Vermeer to Rembrandt. There are entries on more than 220 artists.

This unprecedented book draws together biographies of artists who worked in one of the most exciting and dramatic political eras in France, when Paris became the artistic capital of Europe. It features in-depth studies of such well-known Neo-classical artists as Jacques-Louis David, and Jean-Auguste-Dominique Ingres, the artist most revered by his fellow countrymen. Also included are artists of the Romantic Movement, like Delacroix and Gericault, as well as the painters of the Barbizon School, whose plein-air landscapes anticipated those of the Impressionists.

The Grove Art series, focusing on the most important periods and areas of art history, is derived from the critically acclaimed and award-winning The Grove Dictionary of Art. First published in 1996 in 34 volumes, The Dictionary has quickly established itself as the leading reference work on the visual arts, used by schools, universities, museums, and public libraries throughout the world. With articles written by leading scholars in each field, The Dictionary has frequently been praised for its breadth of coverage, accuracy, authority, and accessibility.

Sir Anthony Van Dyck (1599-1641) is among the greatest portrait painters of all time. The 1990s opened and closed with major exhibitions devoted to his work, and now the long-awaited catalogue raisonne of his painted oeuvre is complete.
A native of Antwerp, Van Dyck also lived and worked for long periods in Italy and England, where his brief, productive life ended. He is best known for his work at the court of Charles I. His full-length portraits of aristocrats in the Caroline court and in Genoa, Antwerp, Brussels, and The Hague influenced the history of Western portraiture into the twentieth century in the work of John Singer Sargent. Handsomely designed and illustrated, the volume includes a reproduction of every known authentic painting by the artist as well as the provenance and the significant facts and literature on each. This catalogue raisonne is, fittingly, the collaborative work of an international team devoted to the study of this major international artist.
Susan J. Barnes, an independent art historian, co-curated a Van Dyck exhibit in Washington, D.C., 1990. Nora De Poorter is director of the Rubenianum, Antwerp. Oliver Millar, Surveyor Emeritus of The Queen's Pictures, organized an exhibition of Van Dyck's English work at the National Portrait Gallery, London, 1982-83. Horst Vey, former director of the Kunsthalle, Karlsruhe, is author of the standard work on Van Dyck's drawings.
Published for the Paul Mellon Centre for Studies in British Art
September Art
672 pp. 450 b/w + 150 color illus. 9 3/4 x 12
ISBN 0-300-09928-2 $175.00sc

The historiography of timekeeping is traditionally characterized by a dichotomy between research that investigates the evolution of technical devices on the one hand, and research that is concerned with the examination of the cultures and uses of time on the other hand. Material Histories of Time opens a dialogue between these two approaches by taking monumental clocks, table clocks, portable watches, carriage clocks, and other forms of timekeeping as the starting point of a joint reflection of specialists of the history of horology together with scholars studying the social and cultural history of time. The contributions range from the apparition of the first timekeeping mechanical systems in the Middle Ages to the first evidence of industrialization in the 18th and 19th centuries.

Marking a crucial turning point in Caravaggio's life and artistic development, the Crucifixion of Saint Andrew exemplifies the artist's famous tenebristic style, developed during his rise to fame in Rome, and simultaneously signals a new, grittier realism in his work. Inspired both by a Spanish patron and by the urban topography of Naples, a city three times the size of Rome in Caravaggio's day, the Crucifixion of Saint Andrew became a mobile portent of Caravaggio's stylistic revolution when the viceroy brought it with him to Valladolid in 1610. Recounting the complex history of this masterwork and its understudied position in Caravaggio's oeuvre, this book reveals the ways in which the Crucifixion of Saint Andrew functioned first as a devotional aid and subsequently as a harbinger of Caravaggism abroad.

Sculptor, architect, painter, playwright, and scenographer, Gian Lorenzo Bernini (1598-1680) was the last of the great universal artistic geniuses of early modern Italy, placed by both contemporaries and posterity in the same exalted company as Leonardo, Raphael, and Michelangelo. And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the baroque theater that continues to enthrall tourists today. It is perhaps not surprising that this artist who defined the baroque should have a personal life that itself was, well, baroque. As Franco Mormando's dazzling biography reveals, Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations. Drawing on archival sources, letters, diaries, and - with a suitable skepticism - a hagiographic account written by Bernini's son (who portrays his father as a paragon of virtue and piety), Mormando leads us through Bernini's many feuds and love affairs, scandals and sins. He sets Bernini's raucous life against a vivid backdrop of baroque Rome, bustling and wealthy, and peopled by churchmen and bureaucrats, popes and politicians, schemes and secrets. The result is a seductively readable biography, stuffed with stories and teeming with life - as wild and unforgettable as Bernini's art. No one who has been bewitched by the baroque should miss it.

In the Catholic countries of seventeenth- and early eighteenth-century Europe, communities of monks and nuns were growing in number and wealth. They constructed vast buildings, dominated education, and played a large part in the practice and patronage of learning, music, and the arts. This lavishly-illustrated book offers a unique, comparative description of these communities--their wealth, growth, life, and importance--and then explains their catastrophic decline and fall between 1650 and 1815 by reforming rulers, the 'Enlightenment', and the French Revolution. Derek Beales, Professor Emeritus of Modern History, Cambridge, is a Fellow of both the Royal Historical Society and the British Academy. He has published numerous historical monographs including a book on musical history entitled, Mozart and the Habsburgs (Reeding, 1993) as well as articles in the New York Review of Books and the Times Literary Supplement.

This book presents the Gianfranco Luzzetti collection housed in the historic complex of the former convent of the Clarisse in Grosseto, a new museum in the city. The collection is the result of the donation to the Municipality, in 2018, of over 60 works from the personal heritage of Luzzetti, an antiquarian from Grosseto, deeply linked to his land. The paintings, of great quality, trace Italian art from the 14th to the 19th century, with particular attention to Florentine art of the 17th century. The collection includes masterpieces by Antonio Rossellino, Giambologna, Rutilio Manetti, Passignano, Niccolo di Pietro Lamberti, Corrado Giaquinto, Camillo Rusconi, Pier Dandini and Giovanni di Tano Fei, as well as important works by Donatello and Beccafumi and works already donated to the Municipality of Grosseto in past years, of Santi di Tito and Cigoli. This volume, with introductory texts regarding the history of the site, the birth of the Museum and the Collection, is complemented by an anthology of writings by Luzzetti and bibliographic apparatuses. Research and texts: Sandro Bellesi, Marco Ciampolini, Roberto Contini, Elena Dubaldo, Lucia Ferri, Claudia Ganci, Cecilia Luzzetti, Gianfranco Luzzetti, Andrea Marchi, Mauro Papa, Marcella Parisi, Francesca Perillo, Gianluca Sposato, Angelo Tartuferi. Italian edition, with English translation in the appendix.

Bibliophiles in Europe at the end of the nineteenth century began to take a serious interest in the manuscripts of the Middle East and the paper on which they were written. Perhaps the most important of these men were C.-M. Briquet working in Geneva, and J. Wiesner and J. von Karabacek working in Vienna. All three were concerned with the burning topic of the moment: Was oriental paper made of cotton? Within the space of two years these three writers published seminal articles for the European study of Arab paper. Das Arabische Papier is one of those articles. The late Don Baker's inspiration to set about the translation and interpretation of this work was 'simply the desire to know the contents of this much quoted article'. Students, historians, curators, collectors, conservators and all those interested in the historical development and spread of papermaking will realise why Don Baker wished to make this important text available to English readers. This Archetype edition is a revised edition of the volume, which Don Baker produced in 1991.

"Beginning with the arts produced in the Colonial period, Dr. Lewis documents and interprets the flow of creative productions of an important segment of the American population. Her book shows that the range of art produced by African American artists covers the entire spectrum of craft productions through painting, sculpture, and printmaking. There is a progressive development of style that not only reflects the trends in particular periods, but reveals an evolving pattern of indigenous qualities that are distinct. The art community in general and the African American community in particular are fortunate to have Dr. Samella Lewis, for she has developed unusual authority in the area of African American art. I know that "African American Art and Artists "will be of great value educationally and that it will offer a stimulating and rewarding experience to all who have the opportunity to share in its contents."--Jacob Lawrence