Giambattista and Domenico Tiepolo documents an important collection of master drawings donated by an individual to the Sidney and Lois Eskenazi Museum of Art at Indiana University, including five drawings by the celebrated Venetian genius Giambattista Tiepolo and sixteen drawings by his most famous son, Domenico Tiepolo. Twelve of the sixteen form part of Domenico's most important drawing series-his exhaustive visual exploration of the New Testament. Also included are two drawings discovered after the 2006 publication of Domenico Tiepolo: A New Testament and seen here for the first time. Gealt and Knox are world-renowned experts on the Tiepolos and this book will serve as a useful reference to understanding their work as draftsmen. This beautiful illustrated volume will appeal to art lovers, biblical scholars, and those who value the unique work of the Tiepolos.

No literary figure of the 18th century was more esteemed than the poet Alexander Pope, and his sculpted portraits exemplify the celebration of literary fame at a period when authorship was being newly conceived and the portrait bust was enjoying new popularity. Accompanying an exhibition at Waddesdon Manor (The Rothschild Collection), this publication explores the convergence between authorship, portraiture, and the sculpted image in particular, by bringing together a wide range of works that foreground Pope's celebrity status. Pope took great pains over how he was represented and carefully fashioned his public persona through images, published letters, and the printed editions of his works. Eaxmined alongside some of the most celebrated painted portraits of the poet, will be a selection of the printed texts which Pope planned with meticulous care. The core of the publication will consist of eight different versions of the same portrait bust by the leading sculptor of the period, Louis Francois Roubiliac. The marble bust had long been seen as a form appropriate for the celebration of literary fame and Pope's bust in part imitates those of classical authors whose works he both translated and consciously imitated in his own poems. More than any other sculptor, Roubiliac reqorked the conventions of the bust, transforming it into a genre that was considered worthy of close and sustained attention. Nowhere is this seen more tellingly than in his compelling and intense portraits of Pope. Based on a vividly modelled clay original, the variant marble versions were carved with arresting virtuosity, recalling Pope's own phrase,"Marble, soften'd into Life". At the same time, the image was reproduced by both the sculptor himself and by others, in a variety of materials. Multiplied and reproduced throughout the 18th century, Pope's bust was the most familiar and visible sign of his authorial fame. At the same time, it was also used as a way of articulating friendship - a constant theme in Pope's verse - and all the early versions of Roubiliac's bust were probably executed for Pope's closest friends. By bringing together the eight versions thought to have been executed by Roubiliac and his studio, and a number of other copies in marble, plaster, and ceramic, this publication will offer the opportunity to explore not only the complex relationship between these various versions but the hitherto little-understood processes of sculptural production and replication in eighteenth-century Britain.

In the eighteenth century, New Spaniards (colonial Mexicans) so lauded their nuns that they developed a local tradition of visually opulent portraits, called monjas coronadas or “crowned nuns,� that picture their subjects in regal trappings at the moment of their religious profession and in death. This study identifies these portraits as markers of a vibrant and changing society that fused together indigenous and Euro-Christian traditions and ritual practices to construct a new and complex religious identity that was unique to New Spain. To discover why crowned-nun portraits, and especially the profession portrait, were in such demand in New Spain, this book offers a pioneering interpretation of these works as significant visual contributions to a local counter-colonial discourse. James M. Córdova demonstrates that the portraits were a response to the Spanish crown’s project to modify and modernize colonial society—a series of reforms instituted by the Bourbon monarchs that threatened many nuns’ religious identities in New Spain. His analysis of the portraits’ rhetorical devices, which visually combined Euro-Christian and Mesoamerican notions of the sacred, shows how they promoted local religious and cultural values as well as client-patron relations, all of which were under scrutiny by the colonial Church. Combining visual evidence from images of the “crowned nun� with a discussion of the nuns’ actual roles in society, Córdova reveals that nuns found their greatest agency as Christ’s brides, a title through which they could, and did, challenge the Church’s authority when they found it intolerable.

Der Band eroeffnet einen neuen Zugang zur Paragone-Debatte der Fruhen Neuzeit im Sinne eines produktiven Mitstreitens. Dies betrifft im Speziellen die Rolle zwischen Malerei und Skulptur, im Allgemeinen das Verhaltnis zwischen Natur und Kunst. Deren Beziehung soll als eine osmotische verstanden werden, wie sie sich etwa in der Kunstkammer verkoerpert. Wenn sich in visuellen Bildformen koerperlich-haptische Eigenschaften einschreiben, Farbe als bildhauerisches Mittel verwendet oder Skulptur zum Bild wird, ikonographische und stilistische Zitate eingesetzt oder kunstlerische Stile weiterentwickelt werden, beschreibt dies immer auch ein Ringen um die adaquate Ausdrucksform. Die Erganzungserscheinungen der Gattungen verweisen auf eine Praxis, die Bilder stets plurimedial versteht.

This is the first illustrated scholarly work devoted to the reception and reputation of Edinburgh's premier Enlightenment portrait painter. Sir Henry Raeburn (1756-1823) is especially well known in Scotland as the portrait painter of members of the Scottish Enlightenment. However, outside Scotland, the artist rarely makes more than a fleeting appearance in survey books about portraiture. Ten international scholars recover Raeburn from his artistic isolation by looking at his local and international reception and reputation, both in his lifetime and posthumously. It focuses as much on Edinburgh and Scotland as on metropolitan markets and cosmopolitan contexts. Previously unpublished archival material is brought to light for the first time, especially from the Innes of Stow papers and the archives of the dukes of Hamilton. It features 14 chapters, each looking at different aspects of Raeburn's professional career. There are international scholars contributing to Raeburn studies for the first time. It offers interdisciplinary perspectives setting a new agenda for Raeburn studies. It has traditional art analysis integrated with cultural, social, political and economic history. It includes much unpublished archival material.

The first in-depth study of the Utrecht artist to address questions beyond connoisseurship and attribution, this book makes a significant contribution to Ter Brugghen and Northern Caravaggist studies. Focusing on the Dutch master's simultaneous use of Northern archaisms with Caravaggio's motifs and style, Natasha Seaman nuances our understanding of Ter Brugghen's appropriations from the Italian painter. Her analysis centers on four paintings, all depicting New Testament subjects. They include Ter Brugghen's largest and first known signed work (Crowning with Thorns), his most archaizing (the Crucifixion), and the two paintings most directly related to the works of Caravaggio (the Doubting Thomas and the Calling of Matthew). By examining the ways in which Ter Brugghen's paintings deliberately diverge from Caravaggio's, Seaman sheds new light on the Utrecht artist and his work. For example, she demonstrates that where Caravaggio's paintings are boldly illusionistic and mimetic, thus de-emphasizing their materiality, Ter Brugghen's works examined here create the opposite effect, connecting their content to their made form. This study not only illuminates the complex meanings of the paintings addressed here, but also offers insights into the image debates and the status of devotional art in Italy and Utrecht in the seventeenth century by examining one artist's response to them.

Gian Lorenzo Bernini (1598-1680), sculptor, architect, painter, and playwright, was the most influential artist of seventeenth-century Rome and, indeed, one of the leading creative forces in European art for most of that century. He is universally recognized as one of the creators of the vastly popular Roman Baroque style, which was quickly disseminated throughout all of Europe. His influence lasted well beyond his death, and the popularity of his numerous works--fountains, statues, churches, and public squares--is today as great as it was during his own lifetime, if not more so. Domenico Bernini (1657-1723) was the artist's youngest child. Domenico's full-length biography of his famous father represents one of the most important and most intimate primary sources for the artist's life and work.

In this edition, Franco Mormando presents the first critical translation in any language of the complete Italian text, together with annotated translations of two other significant but brief biographical sketches. Mormando provides a lengthy Introduction that closely examines the author and his career, his editorial agenda and critical reception, Baroque biography as a literary genre, the other extant primary sources, and the artistic vocabulary of early modern Europe, among other relevant topics. Extensive commentary accompanies and illuminates the text from a multiplicity of historical, linguistic, and cultural perspectives. This edition is, in effect, a one-volume encyclopedia on the artist's life and work. As such, it stands alone within the immense bibliography of Bernini scholarship.

This is a brief history of and investigation into the collecting of sacred art. When works of art created for religious purposes outlive their original function, they often take on new meanings as they move from sacred spaces to secular collections. Focusing on the centuries in which the phenomenon of collecting came powerfully into its own, the fourteen essays presented here analyze the radical recontextualization of celebrated paintings by Raphael, Caravaggio, and Rubens; brings to light a lost holy tower from fifteenth-century Bavaria; and offers new insights into the meaning of 'sacred' and 'profane'. Collecting represents the primary mechanism by which a sacred work of art survives when it is alienated from its original context. In the field of art history, the consequences of such collecting - its tendency to reframe an object, metaphorically and physically - have only begun to be investigated. "Sacred Possessions" charts the contours of a fertile terrain for further inquiry.

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.

"Aux limites de l'imitation "pose une question audacieuse que les innombrables etudes existantes sur l'"ut pictura poesis" a l'age classique ont eu tendance a laisser dans l'ombre: celle de la matiere comme limite de l'imitation, suivant l'hypothese selon laquelle le surgissement du materiel est a l'origine du delitement de l'"ut pictura poesis" au cours de l'age classique. Les etudes reunies ici abordent cette question pour l'ensemble de l'age classique (allant du XVIe a la fin du XVIIIe siecle) ainsi que pour les principaux domaines artistiques que l'on peut distinguer (litterature, peinture, sculpture, musique, danse).

Robert L. McGrath surveys -- often at an exhilarating pace -- the topographic and metaphoric landscape of New Hampshire's White Mountains through the artistic and tourist life of the region as it appears in paintings and illustrations. Extending from the late eighteenth to the late twentieth century, he includes by far the most extensive collection of pictorial works relating to the White Mountains to date.

Although the scenic beauty of the White Mountains attracted many of America's most significant artists during the nineteenth and twentieth centuries, such as Thomas Cole, Frank Stella, Winslow Homer, Fernand Leger, John Marin, and Marsden Hartley, no comprehensive account of this region's rich contribution to the history of American art has ever been published.

Written in a vital, concise prose style, full of fresh insights, comparisons and juxtapositions, this study promises to command and hold the attention of anyone with an interest in the interplay of art, nature, and American culture.

This is the first multi-disciplinary study of the dissemination of Italian culture in northern Europe during the "long eighteenth century" (1689-1815). The book covers a diverse range of important artists such as Amigoni, Canaletto and Rosalba Carriera, as well as opera singers, commedia dell'arte performers and librettists who left Italy to seek work beyond the Alps. It also considers key themes such as social networks, the relationships between court and market cultures, the importance of religion and politics to the reception of culture, and the evolution of taste.

Chinoiserie—the use of motifs, materials, and techniques considered “Chinese� in ceramics, furniture, interior design, and landscape architecture—has often been associated with courtly decadence and shallow escapism. In Siting China in Germany, Christiane Hertel challenges conventional assumptions about this art form by developing a fresh, complex perspective on collections, gardens, and literature in the long eighteenth century. From the extraordinary porcelain palaces at Dresden and Rastatt and the gardens of Wilhelmsthal and Wilhelmshöhe in Kassel to the literary and artistic translation practices in Dresden and Thomas Mann's historical novel Lotte in Weimar, Hertel interprets the extensive history of chinoiserie within but also beyond court culture. In particular, her study focuses on how manifestations of chinoiserie in Germany oscillated between the imagination, judgment, and critique of cultural and historical difference as well as identity. Hertel’s erudite analysis of the cultural significance of German chinoiserie will interest art historians and scholars of Orientalism, German Sinophilia, and German Sinophobia.

Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States. The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s. A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries. In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.

Unlike the work of his contemporaries Rubens and Caravaggio, who painted on a grand scale, seventeenth-century Flemish painter Jan Brueghel’s tiny, detail-filled paintings took their place not in galleries but among touchable objects. This first book-length study of his work investigates how educated beholders valued the experience of refined, miniaturized artworks in Baroque Europe, and how, conversely, Brueghel’s distinctive aesthetic set a standard—and a technique—for the production of inexpensive popular images. It has been easy for art historians to overlook the work of Jan Brueghel, Pieter’s son. Yet the very qualities of smallness and intimacy that have marginalized him among historians made the younger Brueghel a central figure in the seventeenth-century art world. Elizabeth Honig’s thoughtful exploration reveals how his works—which were portable, mobile, and intimate—questioned conceptions of distance, dimension, and style. Honig proposes an alternate form of visuality that allows us to reevaluate how pictures were experienced in seventeenth-century Europe, how they functioned, and how and what they communicated. A monumental examination of an extraordinary artist, Jan Brueghel and the Senses of Scale reconsiders Brueghel’s paintings and restores them to their rightful place in history.

Despite William Hunter's stature as one of the most important collectors and men of science of the eighteenth century, and the fact that his collection is the foundation of Scotland's oldest public museum, The Hunterian, until now there has been no comprehensive examination in a single volume of all his collections in their diversity. This volume restores Hunter to a rightful position of prominence among the medical men whose research and amassing of specimens transformed our understanding of the natural world and man's position within it. This volume comprises essays by international specialists and are as diverse as Hunter's collections themselves, dealing as they do with material that ranges from medical and scientific specimens, to painting, prints, books and manuscripts. The first sections focus upon Hunter's own collection and his response to it, while the final section contextualises Hunter within the wider sphere. A special feature of the volume is the inclusion of references to the Hunterian's web pages and on-line databases. These enable searches for items from Hunter's collections, both from his museum and library. Locating Hunter's collecting within the broader context of his age and environment, this book provides an original approach to a man and collection whose importance has yet to be comprehensively assessed.

One hundred masterpieces of European art and arts and crafts of the eighteenth century form a panorama of innovation, design and expert realisation. In their sumptuous design, the porcelain, furniture, bronzes and silver objects are all miracles of the luxury craftsmanship found in court art. Such sophisticated design was the driving force behind the quickly successive styles of classicism, naturalism and the exotic design of the Rococo period. Andre-Charles Boulle, Jakob Philipp Hackert, Johann Joachim Kaendler, Alexandre-Jean Oppenordt und Jean-Baptiste Francois Pater are just some of the renowned artists featured in this catalogue. The artworks are opulently presented, interpreted in detail and arranged according to context. Thus the colourful image of a great era in art emerges, one that relied on creative energy and the power of the imagination. Text in German.

Art is often appreciated for its ability to delight our eyes and refresh our minds. But it can also serve as a powerful vehicle for exploring darker emotions, such as fear, sadness, and grief. And while these themes have an artistic history dating back to the ancients, the ways in which they have been represented in art have changed dramatically over time. Published to coincide with an exhibition at the Smart Museum of Art, "The Tragic Muse: Art and Emotion, 1700-1900" draws on the work of several distinguished scholars to examine the richly varied representation of tragedy in the European artistic tradition over the course of two centuries. This catalog is generously illustrated with full-color reproductions of all the works contained in the exhibition, and the fascinating contributions offer new insights into the approaches taken by the visual arts, as well as literature and drama, in expressing and eliciting strong emotions.

Fashion--the question of what to wear and how to wear it--is a centuries-old obsession. Beyond superficial concerns with personal appearance, the history of dress points to deep preoccupations surrounding the social order, national identity, and moral decency. Produced in conjunction with an exhibition at the David and Alfred Smart Museum of Art (running from October 23, 2001 through April 28, 2002), "A Well-Fashioned Image investigates clothing and the representation of clothing from these various perspectives. This richly illustrated catalogue, the fourth in a series sponsored by the Andrew W. Mellon Foundation, features an introduction by co-curators Elizabeth Rodini, the Smart Museum's Mellon Projects Curator, and Professor Elissa B. Weaver of the University of Chicago's Department of Romance Languages and Literatures, which is followed by essays addressing the topic from a variety of perspectives. Also included are a substantial bibliography on the topic of costume in art and an exhibition checklist.

For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country's favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.

The largest maps in the world are to be found in the floor of the Citizens' Hall, in the heart of the Royal Palace Amsterdam. The three circular mosaics, each measuring over six metres in diameter, together depict the known world and the night sky. They remain to this day an iconic and beloved part of the majestic palace, which was originally built in the mid-17th century to serve as Amsterdam's town hall. At that time, the city was the world's leading cartography centre. The prominent place of the floor maps relates directly to that primacy. This book tells the story of these unique maps and of the flourishing of cartography in Amsterdam in the 17th and 18th centuries.

Rembrandt's stunning religious prints stand as evidence of the Dutch master's extraordinary skill as a technician and as a testament to his genius as a teller of tales. Here, several virtually unknown etchings, collected by the Feddersen family and now preserved for the ages at the University of Notre Dame, are made widely available in a lavishly illustrated volume. Building on the contributions of earlier Rembrandt scholars, noted art historian Charles M. Rosenberg illuminates each of the 70 religious prints through detailed background information on the artist's career as well as the historical, religious, and artistic impulses informing their creation. Readers will enjoy an impression of the earliest work, The Circumcision (1625-26); the famous Hundred Guilder Print; the enigmatic eighth state of Christ Presented to the People; one of a handful of examples of the very rare final posthumous state of The Three Crosses; and an impression and counterproof of The Triumph of Mordecai. From the joyous epiphany of the coming of the Messiah to the anguish of the betrayal of a father (Jacob) by his children, from choirs of angels waiting to receive the Virgin into heaven to the dog who defecates in the road by an ancient inn (The Good Samaritan), Rembrandt's etchings offer a window into the nature of faith, aspiration, and human experience, ranging from the ecstatically divine to the worldly and mundane. Ultimately, these prints- modest, intimate, fragile objects-are great works of art which, like all masterpieces, reward us with fresh insights and discoveries at each new encounter.

The first book-length study of the fifteen surviving Little Gidding bible concordances, this book examines the visual culture of print in seventeenth-century England through the lens of one extraordinary family and their hand-made biblical manuscripts. The volumes were created by the women of the Ferrar-Collet family of Little Gidding, who selected works from the family's collection of Catholic religious prints, and then cut and pasted prints and print fragments, along with verses excised from the bible, and composed them in artful arrangements on the page in the manner of collage. Gaudio shows that by cutting, recombining, and pasting multi-scaled print fragments, the Ferrar-Collet family put into practice a remarkably flexible pictorial language. The Little Gidding concordances provide an occasion to explore how the manipulation of print could be a means of thinking through some of the most pressing religious and political questions of the pre-civil war period: the coherence of printed scripture, the nature of sovereignty, the relevance of the Mosaic law, and the protestant reform of images. By foregrounding the Ferrar-Collets' engagement with the print fragment, this book extends the scope of early modern print history beyond the printmaker's studio and expands our understanding of the ways an early modern Protestant community could productively engage with the religious image. Contrary to the long-held view that the English Reformation led to a decline in the importance of the religious image, this study demonstrates the ongoing vitality of religious prints in early modern England as instruments for thinking.

Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient regime France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand siecle.

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.