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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800 > General
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
Giambattista Tiepolo.
This publication on Flemish painting deals with those elements of
the social and intellectual context which played a role in the
realisation of any work of art, the concrete steps taken within a
workshop in preparing for the production of the work, and the
production through to completion of the draft. Part One, Concept,
deals with those elements of the social and intellectual context
which played a role in the realisation of any work of art. This
section therefore examines individual motivations and the
intellectual background of artists and their patrons, as also their
institutional context and working conditions. Part Two, Design,
examines the concrete steps taken within a workshop in preparing
for the production of a work of art. These include the use of study
materials, such as collections of exempla, as well as the stages of
work required to make exploratory sketches, the finished draft and
thence its transfer to the definitive medium to be used. Part
Three, Execution, focuses on the production through to completion
of the draft on its support medium. This may be done by the artist
himself, or through one or other method of sharing the work, such
as the employing of assistants or specialists. Introduction by
Frans Baudouin.
Muriel Butkin has a fine private collection of master drawings,
more than 450 in all. She has concentrated on French artists of the
18th and 19th centuries, with particular focus on figure studies,
portraits, animals, interiors, mythological subjects, unusual
landscapes, and sketchbooks. This volume publishes 59 of the most
important drawings, each reproduced in duotone and accompanied by a
comprehensive essay. Among them are works by artists such as
Coypel, Boucher, Greuze, David, Gericault, Millet, Degas, Carot,
Daubigny, Rodin and Puvis de Chavannes, as well as previously
unknown rarities.
This title includes a book and 4 CDs. A century in words, pictures
and music - lucid, informative and entertaining. The earBOOKS
"Masterpieces" series provides a compact overview of music and
painting through the centuries. The "1600-1700" volume presents the
most important artworks and musical compositions of the 17th
century. Background detail and points of interest in relation to
each painting or piece of music are conveyed through concise and
illuminating commentaries. A comprehensive introduction sets the
scene, expanding on the century's historical connection to the art
of the period. Music CDs: A wealth of musical highlights from the
17th century can be enjoyed on the four CDs accompanying the book.
Performers like Britta Schwarz, Christoph Genz, Ludwig Guttler, the
Dresdner Kreuzchor, The Harp Consort with Andrew Lawrence King and
the Schutz Akademie, directed by Howard Arman guarantee top-class
performances.
In the past decade, there has been a surge of Anglophone
scholarship regarding Spain in the sixteenth and seventeenth
centuries, which has led to a reframing of the discourses around
Spanish culture of this period. Despite this new interest-in which
painting, in particular, has been singled out for treatment-a
comprehensive study of sculpture collections and the status of
sculpture in Spain has yet to be produced. Sculpture Collections in
Early Modern Spain is the first book to assess the phenomenon of
sculpture collecting and in doing so, it alters the previously held
notion that Spanish society placed little value in this art form.
Di Dio and Coppel reveal that, due to the problems and expense of
their transport from Italy, sculptures were in fact status symbols
in the culture. Thus they were an important component of the
collections formed by the royal family, cultivated noble
collectors, humanists, and artists who had pretensions of high
status. This book is especially useful to specialists for its
discussion of the typologies of collections and objects, and of the
mechanics of state gifts, transport, and collection display in this
period. An appendix presents extensive archival documentation, most
of which has never before been published. The authors have
uncovered hundreds of new documents about sculpture in Spain; and
new documentary evidence allows them to propose several new
identifications and attributions. Firmly grounded in extensive
archival research, Sculpture Collections in Early Modern Spain
redefines the socio-political and art historical importance of
sculpture in early modern Spain. Most importantly, it entirely
transforms our knowledge regarding the presence of sculpture in a
wide range of Spanish collections of the period, which until now
has been erroneously characterized as close to non-existent.
This book accompanies an exhibition at the National Museum of
African Art, Smithsonian Institution, on the role of photography in
Central Africa. This is the first book to link two related themes:
the role of photographic images in constructing and circulating
fantasies, ideas, and sentiments in Europe and the US relating to
the peoples of Central Africa; and the role of photography in
enabling Africans to project images of themselves by becoming
familiar with photographic technology. Broad in thematic and
temporal scope, the book focuses on several time periods,
especially on the years before and between the two world wars.
This is also the first publication devoted to the important
holdings of the Eliot Elisofen Photographic Archives, a department
of the National Museum of African Art, Smithsonian Institution and
a unique repository with more than 200,000 historical and
contemporary images from all over Africa.
This book raises important issues associated with photographic
practice in Africa, the distribution of images, the circulation of
ideas in Europe and the US, and African responses to photography
through several poignant case studies. This book also advances the
scholarly discourse on colonial/anthropological photography, and
contributes to a better understanding of African responses to
photography.
Rembrandt's 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 six 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
practised by art historians today.
This title offers a fascinating look at the rediscovery of Derby's
spectacular "View of Gibraltar". In 1785, British painter Joseph
Wright of Derby (1734-1797) exhibited a large painting representing
his country's defence of the Rock of Gibraltar against Spanish
attack in 1782. A specialist in the use of chiaroscuro, Wright
hoped this would be the pinnacle of his career, and although it was
purchased for a substantial sum at the time, it subsequently
slipped into obscurity. In 2001, the Agnes Etherington Art Centre
acquired a painting representing the same theme which has since
been the subject of intense debate: was this picture, now in poor
condition, a copy of Wright's lost painting or the missing
masterpiece itself? This publication presents the result of eight
years' research by specialists in conservation and
archival/documentary science authenticating the painting and
returning it to its proper place in the canon of British 18th
century art.
From the critically acclaimed and best-selling author of "Son of
the Morning Star and "Deus Lo Volt! comes a biography that breaks
the mold--recounting with stunning immediacy the uncommon genius
behind the renowned Spanish painter. Darkly brilliant and casually
masterful in turn, Francisco Goya changed art forever. During the
days of the Spanish Inquisition, Goya painted royalty, street
urchins, and demons with the same brush, bringing his own
distinctive touch to each. This unusual man and his ghastly times
are the perfect subject for Evan S. Connell, one of our greatest
and least conventional writers. Introducing a wealth of detail and
a cast of comic characters--a motley group of dukes, queens, and
artists, as lewd and incorrigible a crew as history has ever
produced--Connell has conjured Goya's life with wit, erudition, and
a sparkling imagination.
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