Known primarily as a great painter, Bartolome Esteban Murillo (1617-1682) was also one of the best draftsmen of the 17th century. Although his devotional paintings seem to have been created effortlessly, they are the result of careful thought and study, a process that comes alive in the preparatory drawings. Murillo used a variety of techniques, favoring pen and ink and brown wash and red-and-black chalk. Like painters schooled in Italian Renaissance practice, the Spaniard developed his paintings in stages, starting with sketches of the full composition and then focusing on details that posed specific problems. Occasionally, Murillo used drawings as a medium for original compositions; these are highly finished pieces, usually enhanced by the use of wash and unmistakably stamped with the artist's personality. This sumptuous book is a thoroughly revised edition of the 1976 publication Murillo & His Drawings. Twenty sheets have been added to the catalogue of authentic works, the bibliography has been brought up to date, and the entries have been revised. Published in association with Centro de Estudios Europa Hispanica, Madrid

In this study, Marina Belozerskaya re-establishes the importance of the Burgundian court as a center of art production and patronage in early modern Europe. Beginning with a historiographical and theoretical overview, she offers an analysis of contemporary documents and patterns of patronage, demonstrating that Renaissance tastes were formed through a fusion of international currents and art works in a variety of media. Among the most prestigious were those emanating out of the Burgundian court, which embodied prevailing contemporary values: magnificence in appearance, ceremony and surroundings, chivalry inspired by Greco-Roman antiquity, and power manifested through ingenious ensembles of luxury arts. The potency of this 'Burgundian mode' fostered a pan-European demand for its arts and their creators, with rulers in England, Germany, Spain and Italy itself eagerly acquiring Burgundian art works. This interdisciplinary study of the Burgundian arts provides a new paradigm for further inquiry into the pluralism and cosmopolitanism of the Renaissance.

Richard L. Feigen has amassed a collection of Italian paintings that is widely admired for its depth and quality, especially for the works it features by the principal masters of the early Italian Renaissance. This beautifully illustrated catalogue of the complete collection presents rare masterpieces by artists from Bernardo Daddi to Fra Angelico, Orazio Gentileschi's Danae, Annibale Carracci's Virgin and Child, and precious, small-scale coppers by major Mannerist and Baroque masters. Italian Paintings from the Richard L. Feigen Collection catalogues more than fifty major works from the 14th to the 17th century, and is the first publication of this remarkable and important collection. Published in association with the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery, New Haven (5/28/10-9/12/10)

"Geography of the Gaze" offers a new history and theory of how the way we look at things influences what we see. Focusing on Western Europe from the seventeenth to nineteenth centuries, Renzo Dubbini shows how developments in science, art, mapping, and visual epistemology affected the ways natural and artificial landscapes were perceived and portrayed.
He begins with the idea of the "view," explaining its role in the invention of landscape painting and in the definition of landscape as a cultural space. Among other topics, Dubbini explores how the descriptive and pictorial techniques used in mariners' charts, view-oriented atlases, military cartography, and garden design were linked to the proliferation of highly realistic paintings of landscapes and city scenes; how the "picturesque" system for defining and composing landscapes affected not just art but also archaeology and engineering; and how the ever-changing modern cityscapes inspired new ways of seeing and representing the urban scene in Impressionist painting, photography, and stereoscopy. A marvelous history of viewing, "Geography of the Gaze" will interest everyone from scientists to artists.

When the Jesuit missionaries ventured from Europe to newly discovered territories in Asia and Latin America, they brought with them the rich traditions of Renaissance and Baroque art and architecture. What happened to the artistic and social practices already thriving in the communities that the missionaries encountered is the story told by art historian and Jesuit specialist Gauvin Alexander Bailey.

The Jesuits, determined to convert both spiritually and culturally, put great effort into imparting their own artistic techniques and knowledge. At the same time they were unusually tolerant of the non-European cultures, making artistic accommodations in order to communicate with each particular society. The resulting hybridization was complex: German, Italian, and Flemish as well as the dominant Spanish and Portuguese idioms mingled with multiple Asian and Amerindian traditions.

Bailey argues that this cross-pollination of early modern art became the first truly global visual currency for cultural exchange. Through a sweeping look at Japan, China, Mughul India, and Paraguay, the author focuses on four of the most flourishing artistic encounters and discovers much unrecognized or misunderstood art. He overturns the simple thesis that art was imposed on subject cultures in favour of the more difficult paradigm of exchange. This meticulously researched book has over 100 beautiful illustrations and a thorough index.

Winner of the 2000 Roland H. Bainton Prize Winner for Art and Music History - Sixteenth Century Studies Conference

In Absolutist Attachments, Chloé Hogg uncovers the affective and media connections that shaped Louis XIV's absolutism. Studying literature, painting, engravings, correspondence, and the emerging periodic press, Hogg diagnoses the emotions that created absolutism's feeling subjects and publics. Louis XIV's subjects explored new kinds of affective relations with their sovereign, joining with the king in acts of aesthetic judgment, tender feeling, or the “newsiness� of emerging print news culture. Such alternative modes of adhesion countered the hegemonic model of kingship upheld by divine right, reason of state, or corporate fidelities and privileges with subject-driven attachments and practices. Absolutist Attachments discovers absolutism's alternative political and cultural legacy—not the spectacle of an unbound king but the binding connections of his subjects.

Rembrandt, Vermeer and the Dutch Golden Age presents the finest pieces from one of the most important private collections in the field, The Leiden Collection, New York, alongside a selection from the Louvre's holdings. This exhibition catalogue illuminates the extraordinary art that flourished during the Dutch Golden Age in the seventeenth century - a time of unprecedented prosperity. Pioneering still life, realism, portraiture, landscape and genre painting, artists such as Rembrandt, Vermeer, Jan Lievens, Gerrit Dou, Frans van Mieris and Frans Hals infused new life into Dutch art, forming a national artistic awakening. Here, their collective work provides a glimpse into the Dutch Golden Age, where the encounter with the new inspired enthralling forms of artistic expressions.

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.

Die Paragonefrage, erstmals ausgiebig von Leonardo diskutiert, besitzt im gesamten Quattrocento eine rege Vorgeschichte, die bei allen fruhen Impulsen durch Petrarca als die entscheidende Phase der Formierung der Debatte betrachtet werden muss. Spektakulare Textfunde der Humanisten, Kunsttraktate, auch eigenhandig von Malern oder Bildhauern verfasst, die Blute an Vielfachbegabungen, oeffentlichen Kunstlerwettbewerben und gattungsmassigen Grenzuberschreitungen verliehen dem wertenden Vergleich der Kunste im Italien des 15. Jahrhunderts sein ganz eigenes Geprage. Erstmals steht dieses - mitsamt dem Fundus an eruierten Quellen - im Zentrum einer grundlegenden Monographie. Leonardos argumentativer Eigenanteil gewinnt ebenso Konturen wie die Genese der Diskussion. Vorweg zweiseitig bemalte Bildnistafeln wie Leonardos Portrat der Ginevra de Benci bieten mit Steinimitationen und Versen spannungsreiche "UEbergriffe" in die Nachbargattungen. Fur Piero della Francesca waren sie Programm, als er das vierteilige Landschaftspanorama im buchartigen Montefeltro-Diptychon zum Ariadnefaden einer poetischen Erzahlung machte.

Die Studie beschaftigt sich mit den tiefgreifenden Veranderungen von Materialien und Techniken der Malerei sowie den Verschiebungen asthetischer und wissenschaftlicher Vorstellungen zur Farbe zwischen 1750 und 1850. In dieser Zeitspanne ist ein Bruch mit der Tradition festzustellen, der dazu gefuhrt hat, dass die Gemalde nicht nur eine Vielfalt an Maltechniken und -materialien aufweisen, sondern auch ungewoehnliche Alterungsschaden offenbaren. Annik Pietsch untersucht, ob Interdependenzen zwischen den Schadensphanomenen und den Topoi, zwischen Praxis und Diskurs bestehen. Sie verfolgt den UEbergang von einer handwerklich orientierten uber eine wissenschaftlich reflektierte zu einer autonomiebetonten Malpraxis und zeichnet die Umwertung von Kolorit und Maltechnik von reinen Mitteln der Darstellung zu herausragenden Ausdrucksmoeglichkeiten der Malerei nach. Die Autorin bundelt ihre Kompetenzen als Restauratorin, Biochemikerin und Kunsthistorikerin in der Studie, die Theorie und Praxis auf fruchtbare Weise verbindet.

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

The most important architects of his time entrusted Jean Marot with their designs, and he knew how to give their ethereal ideas lasting tangibility. Which is precisely why Jean Marot's prints, documenting 17th century French architecture, are of immense value to architectural history. And until today, his work has mainly been reduced to the role of a service rendered. Kristina Deutsch's monograph is the first attempt to shift focus to the creative side of his work and sheds light on Marot's sometimes extraordinarily free interpretations of drawings by other artists. Based on his most significant series of prints -and especially his etchings regarding the Louvre - Deutsch makes a detailed presentation of the parameters that characterize the aesthetic presentation of a structure.

This fascinating catalogue documents the English obsession with marble sculpture, during the seventeenth and eighteenth century. The display of classical sculpture was an essential requisite of every grand house in Britain during that period, and shaped the nature of the English country house - Holkham Hall, Kedleston Hall, Syon House, and many other equally famous examples. The master example was the Arundel collection, which itself drew on Italian precedents. There sculpture had been mounted in gardens, and the exedra as a means of display was taken over into English practice. The entrance hall with sculpture was then developed in unique form alongside the long gallery. Also to be considered are crypts and grottos, and study collections in the houses of men like Charles Townley, and indeed John Soane. This fascinating survey by Ruth Guilding gives valuable insight into an essential aspect of English 18th-century taste and culture. "...never forget that the most valuable acquisition a man of refined taste can make is a piece of fine Greek sculpture", as Hamilton wrote to Townley in 1771."

Portraits have a long history in royal courts as a way of communicating the monarch's status, rulership, and even piety. This anthology places such art works studied in the context of their commission, production, and display. Artists use different representational strategies to convey important information about the sitter. These aspects combined with patronage, location and use of the work form a departure point from which to address portraits comprehensively. The intersection between artist, the portrayed and audience with the additional layer of formed identity allows the portrait to hold a special place as popular genre of Spanish art. The relationship between the use of the work and its context is key to understanding better the cultural and social norms of Spanish aristocracy and what they reveal about Spanish identity in general. Used to solidify governance, lineage, and marriage, portraits legitimized the negotiation of status, power, and social mobility.

This book is the first complete study of the life and work of the 17th century Dutch painter Pieter Codde (1599-1678). Alongside Rembrandt, Codde was active in Amsterdam, the largest and busiest city of the Netherlands. Codde belonged to the first generation of painters who took part in the cultural phenomenon known as the Dutch Golden Age and therefore this monograph makes a significant contribution to our understanding of the early stages of development of the Dutch school of painting and its influence on later developments. The book includes a biography of the painter as well as a systematic and comparative iconographical and stylistic study of his work with an attached extensive critical oeuvre catalogue. This book is an important tool for both art enthusiasts and collectors as well as art professionals such as students, scholars, auctioneers and art dealers.

The essays in this collection range across literature, aesthetics, music and art, and explore such themes as the dynamics of change in eighteenth-century aesthetics; time, modernity and the picturesque; the function of graphic ornaments in eighteenth-century texts; imaginary voyages as a literary genre; the genesis of children's literature; the Italian opera and musical theory in Frances Burney's novels; Italian and British art theories; and patterns of cultural transfers and of book circulation between Britain and Italy in the eighteenth century. Collectively they epitomise the concerns and approaches of scholars working on the long eighteenth century at this challenging and exciting time. In the absence of universally agreed, overarching interpretations of the cultural history of the long eighteenth century, these papers pave the way for the ultimate emergence of such explanations.Authors discussed here include Margaret Cavendish, David Russen, Francis Hutcheson, Reverend Gilpin, Samuel Richardson, Henry Fielding, Laurence Sterne, Dugald Stewart, Dorothy Kilner, Frances Burney, Anna Gordon Brown, Saverio Bettinelli, Henry Ince Blundell, Francesco Algarotti, Ugo Foscolo and Francesco Domenico Guerrazzi.