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1999 marks the 350th anniversary of the execution of Charles I, and this volume deals with the crisis the execution provoked in the representation of the monarchy. It looks at both sympathetic and hostile representations of Charles I, and addresses not only the period of mid-century crisis but also the earlier years of his reign and the afterlife of his royal image. It will appeal not only to literary scholars but also to historians, art historians and musicologists.
Rembrandt's masterful Bathsheba Reading King David's Letter is unusual both as a history painting and as a portrayal of a nude. Instead of displaying a sumptuous body for the viewer's delectation, Bathsheba elicits our empathy. This collection of essays by seven leading Rembrandt scholars examines its qualities from perspectives ranging from changing perceptions of female beauty and the nude, technical analysis, and biographical and psychological analysis of the artist, the subject, and the viewer. The juxtaposition of these different approaches to a single work highlights how both the artist and his art are constructed through the questions we ask, and facilitates a comparison of some of the different approaches practiced by art historians today.
Following the completion of the construction of new St. Peter's in the second decade of the seventeenth century, a series of monumental altarpieces was commissioned to decorate its altars. The leading artists of the day contributed to the project - among them Algardi, Bernini, Cortona, Domenichino, Guercino, Lanfaranco, Poussin, Sacchi, Vouet, and Valentin - and the works they produced include some of the most celebrated masterpieces of the Roman Baroque. Here for the first time the altarpieces of St. Peter's are considered collectively, within the liturgical and artistic programme of the building as a whole. Louise Rice takes a comprehensive approach to this critical chapter in the history of Italian Baroque art, offering insight into the mechanisms, motives, and meanings of papal patronage in the premier church of Catholicism.
The late-Ming official Hsieh Chao-che traveled widely, spending
most of his career in the provinces. His "Wu-tsa-tsu" ("Five
Miscellanies") is a priceless resource on Chinese thought and
aesthetics in a period of profound political and social change.
Oertling's complete translation of the sections on painting and
calligraphy is exhaustively annotated and accompanied by a lengthy
interpretive essay. Oertling examines the major critical trends of
the age: the orthodox, with its emphasis on direct study of classic
works, and the heterodox, which encouraged personal expression and
This text presents recent perspectives on Rembrant, Reubens and the art of their time.
The Kunstkammer was a programmatic display of art and oddities amassed by wealthy Europeans during the sixteenth to the eighteenth centuries. These nascent museums reflected the ambitions of such thinkers as Descartes, Locke, and Kepler to unite the forces of nature with art and technology. Bredekamp advances a radical view that the baroque Kunstkammer is also the nucleus of modern cyberspace.
This collection of essays explores the rise of aesthetics as a response to, and as a part of, the reshaping of the arts in modern society. The theories of art developed under the name of ‘aesthetics’ in the eighteenth century have traditionally been understood as contributions to a field of study in existence since the time of Plato. If art is a practice to be found in all human societies, then the philosophy of art is the search for universal features of that practice, which can be stated in definitions of art and beauty. However, art as we know it - the system of ‘fine arts’ - is largely peculiar to modern society. Aesthetics, far from being a perennial discipline, emerged in an effort both to understand and to shape this new social practice. These essays share the conviction that aesthetic ideas can be fully understood when seen not only in relation to intellectual and social contexts, but as themselves constructed in history.
Winner of the Prix de la Confédération des Negociants en Oeuvres d'Art, this book examines the evolution of narrative styles of French 18th-century paintings: the stories paintings tell, the ways they communicate information, the techniques of presenting the body as an instrument for incorporating textual messages.
Angelika Kauffmann (1741-1807) is regarded as the first woman artist of European standing. Well educated and very well connected, she enjoyed an international reputation. She pursued a brilliant career and was one of the outstanding artist personalities of the Classical Age in Londonand Rome. She was admired by Goethe and Herder and her clients included queens and emperors from across the continent. Angelika Kauffmann describes the Kauffmann myth, which arose evenduring her lifetime. Her remarkable life and work are presented in some100 of her best paintings and drawings, including many new discoveries. This overview volume focuses on Kauffmann's impact in England, especially as the first female member of the Royal Academy of Arts, as well as her work as a pioneering history painter, fashionable portraitist and champion of a new ideal of masculinity.
Rembrandt is probably the most famous Dutch painter of the seventeenth century. His works are greatly loved today, but he was not always so well regarded. His life was one of a dramatic rise and fall, unfolding during the Golden Age of the newly formed Dutch Republic. Rembrandt's public acclaim and wealth as a painter came to him as a very young man. His images were vigorous, psychologically compelling but also often less than flattering. By his middle age taste had shifted to more idealized visions, and by the time of his death in 1669 Rembrandt was destitute. But whether the public was with or against him, Rembrandt continued to paint with the same passion, and arguably the art he produced in his final, destitute years is his most intimate, sensitive and open.
Im Frankreich des spaten 17. und wahrend der ersten Halfte des 18. Jahrhunderts erfuhr das portrait historie eine ungekannte Blutezeit. Angehoerige des Hochadels und finanzstarken Burgertums setzten sich auf diesen Bildnissen in mythologischen oder historisierenden Kostumen in Szene. Welche Interessen verfolgten die Auftraggeber? Weshalb wandten sich Kunstler wie Nicolas de Largillierre, Francois de Troy oder Jean-Marc Nattier dem Bildtypus zu? Inwiefern nahmen die Werke Bezug auf den architektonischen Raum, fur den sie geschaffen wurden, und in welchem Verhaltnis standen sie zu den kulturellen Praktiken der Zeit, etwa hoefischen Maskeraden, dem Theater, der galanten Dichtung? Der Band bietet eine grundlegende Untersuchung des bislang unerschlossenen Bildtypus. Neben kunsttheoretischen und kunstkritischen Texten greift die Autorin auf Inventare, Briefe, Beschreibungen von Schloessern und Festen, Dichtung und Theaterlivrets zuruck, ruckt aber vor allem die Kunstwerke selbst als Ausdruck hoefischer Portratkultur in den Vordergrund.
Akademische Aktstudien widmen sich dem vornehmsten Gegenstand der Kunst uberhaupt: dem menschlichen Koerper in Ruhe und Bewegung. Diese grundlegende und normstiftende Kunstpraxis der Fruhen Neuzeit macht die Autorin mittels umfangreichem Material aus Rom, Paris und dem deutschsprachigen Raum in funf Werkgruppen zuganglich. Die Forschungsarbeit beinhaltet die zentralen Themenkreise der Theorie der akademischen Aktstudie: die Kunstlerausbildung, die Theorie der Nachahmung von Kunst und Natur, die experimentelle Praxis im Aktsaal, die Transformation akademischer Vorbilder, die zeichnerische Illusion von Lebendigkeit, das zeitgenoessische Idealbild des Menschen, die Simulation von Bewegung in der Pose sowie die Bedeutung der Posen fur die Kunstpraxis der Zeit.
The Dutch painter Barend Graat lived his entire life in Amsterdam and worked as an artist from 1645 until 1709. He produced drawings and paintings, well over a hundred of which are currently known. He was trained by his uncle Hand Bodt as a landscape and animal painter but developed and a genre and historic painter as well. Also he produced many portraits of wealthy Amsterdam merchants (mostly) and their families. This monograph consist of five chapters and a catalogue raisone. Six appendices contain all relevant documents with regards to Graats life and work. The first three chapters discuss the life and work of the artist. Chapters 4 and 5 present his oeuvre and etchings. The catalogue raisone presents all known artworks in the form of paintings, drawings and etchings. TEXT IN DUTCH
This is the second volume devoted to Italian painting in the The
Thyssen-Bornemisza Collection. Seventeenth and eighteenth century
paintings, especially those of the Venetian School, form a major
part of the collection, thanks to the many acquisitions of the past
few years. This scholarly book offers a panoramic view of painting
in Italy during these two centuries, including the works of 'minor'
artists such as Ferrau Fenzoni and Francesco Foschi. The collection
begins and ends with two of the greatest paintings of all time -
Caravaggio's "St Catherine," and "The Death of Hyacinthus" by
The Spooner Collection of watercolours is one of the finest of its kind, featuring all the leading artists of the period 1750 - 1850. Notable among them are watercolours of the Lake District by John White Abbott, and rural scenes by several artists - Gainsborough, Turner, Cozens, Rowlandson, Francis Towne, Samuel Palmer. Architecture dominates the setting, in works by Girtin, Cotman and Sandby. The essays accompanying the catalogue discuss outdoor painting and the role of memory in watercolour painting, the connoisseurship, and attitudes towards watercolours; and give a brief biography of William Wycliffe Spooner himself. This complete catalogue of the collection, bequeathed by Spooner to the Courtauld Institute, is published on the occasion of a touring exhibition of select works from the collection, showing at The Worsworth Trust, Grasmere; The Huntingdon Library, California; and the Courtauld Institute Gallery, London, 2005 - 2006.
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.
This is an in-depth study of the intellectual, technical, and artistic encounters between Europe and China in the late eighteenth century, focusing on the purposeful acquisition of information and images that characterized a direct engagement with the idea of "China." The central figure in this story is Henri-Leonard Bertin (1720-1792), who served as a minister of state under Louis XV and, briefly, Louis XVI. Both his official position and personal passion for all things Chinese placed him at the center of intersecting networks of like-minded individuals who shared his ideal vision of China as a nation from which France had much to learn. John Finlay examines a fascinating episode in the rich history of cross-cultural exchange between China and Europe in the early modern period, and this book will be an important and timely contribution to a very current discussion about Sino-French cultural relations. This book will be of interest to scholars in art history, visual culture, European and Chinese history.
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.
Within the region of Rajasthan in India lies Shekhavati, and there lie the empty forts of the Rajputs - the once powerful warrior class - and the huge, painted mansions of merchant families who have long since departed to the cities, leaving their beautiful frescoed houses to the ravages of time. This book, first published in 1982 and featuring a hundred colour plates, is a testimony to Shekhavati and a unique record of a decorative skill now almost forgotten.
First published in 1977. The purpose of this study is to locate the sources for the American style of painting characterised by measure and design - the representation of the specific and familiar according to principles of pictorial order. The reader shall see that there were a variety of conventions available to the artist and that his selection of one or another of them depended upon pragmatic, philosophical, and aesthetic considerations.
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