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In 1761, Bernardo Bellotto painted his famous panorama of Munich,
signing the painting "Canaletto"--as he signed many of his
paintings--in tribute to his uncle and teacher Giovanni Antonio
Canal. In addition to the famous panorama, Bellotto completed over
the course of several months two stunning palace views for the Duke
of Bavaria, Maximilian III Joseph.
Thomas Gainsborough (1727 - 88) is one of the great European painters of the eighteenth century. In Germany he is primarily known for his portraits. This volume is the first to present the English artist as a pivotal figure in the development of "modern" landscape painting, a genre in which his painterly experiments were particularly innovative. Gainsborough himself favoured landscape painting, a field to which he made important contributions, over his well - known portraits. His works are fascinating for their painterly subtlety and technical variation. This volume brings together German and British traditions of viewing, interpreting, and studying Gainsborough. It looks at the connections to the landscapes of the Dutch and the Italian vedute, explains Ga insborough's unusual and experimental techniques from an art technological point of view, and situates his landscapes in the context of the social tensions of early industrialisation.
His works have prompted a New York Times bestseller; a film starring Scarlett Johansson and Colin Firth; record visitor numbers at art institutions from Amsterdam to Washington, DC; and special crowd-control measures at the Mauritshuis, The Hague, where thousands flock to catch a glimpse of the enigmatic and enchanting Girl with a Pearl Earring, also known as the "Dutch Mona Lisa". In his lifetime, however, the fame of Johannes Vermeer (1632-1675) barely extended beyond his native Delft and a small circle of patrons. After his death, his name was largely forgotten, except by a few Dutch art collectors and dealers. Outside of Holland, his works were even misattributed to other artists. It was not until the mid-19th century that Vermeer came to the attention of the international art world, which suddenly looked upon his narrative minutiae, meticulous textural detail, and majestic planes of light, spotted a genius, and never looked back. This XXL edition brings together the complete catalog of Vermeer's work, presenting the calm yet compelling scenes so treasured in galleries across Europe and the United States into one monograph of utmost reproduction quality. With brand new photography of many works, Vermeer's restrained but richly evocative repertoire of domestic actions - ranging from letter writing to music making to preparations in the kitchen - unfolds in a generous format, including three fold-out spreads. Numerous details emphasize the artist's remarkable ability not only to bear witness to the trends and trimmings of the Dutch Golden Age but also to encapsulate an entire story in just one transient gesture, expression, or look.
A catalogue of 128 paintings produced during this period in which the art of portraiture was transformed, religious imagery dynamized, and new genres such as flower painting were established. The art of Holland's Golden Age is perennially popular with collectors and gallery visitors alike and this book provides a new insight into this unique private collection. In his introduction Ivan Gaskill considers the extremely varied character of Dutch and Flemsih seventeenth century art. It ranges from minutely observed scens of everyday life to portraits, religious works and intimate still-life compositions. The Thyssen-Bornemisza Collection is especially rich in landscapes, a subject which had emerged as a seperate genre in the Netherlands in the previous century. The author outlines the development of painting on both sides of the border, placing it in its social and historical context, and goes on to discuss the taste for Dutch and Flemish art from the seventeenth century to the present day and spotlights some of the earlier collectors. This detailed catalogue of 128 paintings is the result of meticulous researchin British, Dutch and American libraries and archives. The entries are arranged in ten groups by subject so that thematic similarities can be conveniently examined. Amongst the most celebrated works is Frans Hal's monumental ""Family Portrait"" - once the most expensive painting in the world. All the paintings are illustrated in colour and are accompanied by comparative illustrations and technical photographs.
Sir John Soane's three Canalettos the 'Riva degli Schiavoni', the 'Piazzo di San Marco', and the 'Rialto Bridge' are among the most celebrated works of art in his Museum. The 'Riva degli Schiavoni' is regarded as one of half a dozen finest works by Canaletto in existence. In this volume all three works are fully described in the context of Canaletto's other work with numerous colour illustrations.
Pastiche, Fashion and Galanterie in Chardin's Genre Subjects seeks to understand how Chardin's genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s. This book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century. Instead, it makes the case that these pictures were crafted to demonstrate the artist's wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie. Early eighteenth-century Moderns like Jean-Simeon Chardin (1699-1779) embraced an aesthetic grounded upon a notion of beauty that could not be put into words-the je ne sais quoi. Despite its vagueness, this model of beauty was drawn from the present, departed from standards of formal beauty, and could only be known through the critical exercise of taste. Though selecting subjects from the present appears to be a simple matter, it was complicated by the fact that the modernizers expressed themselves through the vehicles of older, established forms. In Chardin's case, he usually adapted the forms of seventeenth-century Dutch and Flemish genre painting in his genre subjects. This gambit required an audience familiar enough with the conventions of Lowlands art to grasp the play involved in a knowing imitation, or pastiche. Chardin's first group of enthusiasts accordingly were collectors who bought works of living French artists as well as Dutch and Flemish masters from the previous century, notably aristocratic connoisseurs like the chevalier Antoine de la Roque and Count Carl-Gustaf Tessin.
In 1815, Joseph, elder brother of Napoleon Bonaparte, arrived in America, bringing with him his vast and exquisite collection of eighteenth-century French painting, and a new American taste for eighteenth-century French painting was born. America Collects Eighteenth-century French Painting brings together some of the best and most unusual examples of this type of art that American museums have to offer, and tells their stories on a national stage. Who were the collectors, curators, museum directors and dealers responsible for bringing eighteenth-century French painting to America? Where are the paintings now? The book considers America's very real fascination with France in the eighteenth century: a staunch ally in the Revolutionary wars, a cultural and intellectual model for Franklin, Jefferson and other Americans abroad. It also looks at the way in which the cultural ideal of eighteenth-century France has continued to endure in the American imagination.
Rembrandt (1606 - 69), the most famous Dutch artist of the 17th century, was an extraordinarily productive and original printmaker. In more than 300 etchings, he covered the full range of subjects and styles for which he is celebrated, including self-portraits, scenes from the Bible, landscapes, vignettes of everyday life and character studies. The British Museum owns the greatest collection of Rembrandt's prints in the world, and British Museum curator Martin Royalton-Kisch has selected around 60 of his finest for this book, which accompanies a Hayward Gallery Touring exhibition. This fully illustrated publication also includes an introduction by the curator and short statements by leading contemporary artists whose work has been influenced or informed by Rembrandt's prints.
"Style" has been one of the cornerstones not only of the modern discipline of art history but also of social and cultural history. In this volume, the writers consider the inadequacy of the concept of style as essential to a person, people, place, or period. While the subject matter of this book is specific to religious practices and artifacts from New Mexico between the eighteenth and twentieth centuries, the implications of these investigations are far reaching historically, methodologically, and theoretically.
The essays collected here explore the Catholic instruments of religious devotion produced in New Mexico from around 1760 until the radical transformation of the tradition in the twentieth century. The writers in this volume make three key arguments. First, they make a case for bringing new theoretical perspectives and research strategies to bear on the New Mexican materials and other colonial contexts. Second, they demonstrate that the New Mexican materials provide an excellent case study for rethinking many of the most fundamental questions in art-historical and anthropological study. Third, the authors collectively argue that the New Mexican images had, and still have, importance to diverse audiences and makers.
The distinctiveness of New Mexican santos consists not only in their subjects (which conformed to Catholic Reformation tastes) but also in elements that may appear to have been "merely decorative" graphically striking and frequently elaborate abstract design motifs and landscape references. Despite their anonymity, the images are, as a group, readily distinguished from local products anywhere else in the Spanish colonial world. This distinctiveness suggests that we should inquire not so much about the individual identities of their makers as about the collective identity of the society and place that produced and used them.
Cardinals occupied a unique place in the world of early modern Europe, their distinctive red hats the visible signs not only of impressive careers at the highest rank the pope could bestow, but also of their high social status and political influence on an international scale. Appointed for life, these princes of the Church played a key role in the dramatic events of a period in which both the power and the authority of the papacy were challenged.
Cardinals crossed the ambiguous boundaries then existing between religious and secular power. Granted unparalleled access to Church and private property, they spent considerable time, money, and effort on making the best collections of art and antiquities. Some commissioned artworks in churches that advertised their monastic or national connections, while others took Rome and the papacy abroad to enrich their own cities and countries. But theirs was a precarious dignity: while cardinals could thrive during one papacy, they could suddenly fall from power during the next. The new research represented by the sixteen case studies in The Possessions of a Cardinal reveals how cardinals used their vulnerable position and spent their often substantial wealth on personal and religious interests. As a result, the tensions inherent in their position between the spiritual and the worldly are underscored.
In Pygmalion in Bavaria, Christiane Hertel introduces the sculptor Ignaz Gunther, placing him in the historical context of Bavarian Rococo art and Counter-Reformation religious visual culture. She also considers the remarkable aesthetic appeal of Gunther's oeuvre--and connects it to the eighteenth-century art theory that focused on sculpture and the creative paradigm of Pygmalion. Through this interweaving of contexts and discourses, Hertel offers insights into how Rococo art's own critical dimension positions it against the Enlightenment and introduces a particular notion of subjectivity.
In 1996 Mexico's Museo Nacional de Arte acquired a remarkable dossier of text and images that included an eighteenth-century document requesting permission to carry out a specific iconographic program in Tlaxcala. This discovery planted a seed that grew into Jaime Cuadriello's landmark work Las glorias de la Republica de Tlaxcala, now available in English for the first time. In 1789 don Ignacio Mazihcatzin, the Indian pastor of Yehualtepec, commissioned noted regional artist Jose Manuel Yllanes to do a set of oil paintings for his parish church. As a formal record of inquiry and approval between don Ignacio and the bishop of Puebla, the document includes depositions about the prospective paintings and watercolor sketches of them. From this material, art historian Cuadriello reconstructs both mythic and historic events in Tlaxcala's collective memory, providing an extensively contextualized study of art, society, religion, and history in eighteenth-century New Spain. In its broad scope, the book reaches far beyond a mere deciphering of the symbolism of iconic images to provide a new social history of art for colonial Mexico. It will appeal to art historians, historians of colonial Latin America, and scholars interested in how indigenous communities took the initiative, through a mythic and prophetic discourse, to negotiate and claim their own place within New Spain.
A fascinating look at the relationship between papermaking and the art of watercolor At the Royal Academy exhibition of 1794, Paul Sandby (1725-1809) exhibited his newly painted A View of Vinters at Boxley, Kent, with Mr. Whatman's Turkey Paper Mills. Sandby, one of the founding members of the Royal Academy and one of the preeminent British landscape painters of the day, included the celebrated Whatman papermaking mill at the center of this landscape composition. James Whatman I and his son James Whatman II were the most famous English papermakers of the eighteenth century, and by 1760 Turkey Mill was the largest paper mill in the country. This handsome and engaging book looks at how the View of Vinters and Turkey Mill is both a superb example of Sandby's art and an important document of the rise of industry in the British countryside and of the intertwined developments of papermaking and the art of painting in watercolor. It also features other watercolors by Sandby and materials relating to the processes of papermaking and to the Whatman family and its mill.
The French art collection at the Huntington Library is remarkable for its depth and breadth. This authoritative and beautifully illustrated book focuses on the nearly 300 objects in the collection, including its exceptional examples of furniture, clocks, gilt bronzes, gold snuff boxes, porcelain, tapestries, sculpture, and paintings.Organized by media, the book combines research on the social, cultural, and artistic settings of the period with detailed studies of the individual artworks. The essays and entries illuminate a broad range of issues concerning the production, consumption, and use of the objects in the collection and contribute to a nuanced understanding of French domestic and cultural life.
This volume features nearly 500 paintings, watercolors, pastels, and miniatures from Harvard University's storied, yet little-known, collection of American art. These works, many unpublished, are drawn from the Harvard Art Museums, the University Portrait Collection, the Peabody Museum of Archaeology and Ethnology, and other entities, and date from the early colonial years to the mid-19th century. Highlights include a rare group of 17th-century portraits, along with important paintings by Robert Feke, John Singleton Copley, Charles Willson Peale, Gilbert Stuart, and Washington Allston, in addition to works depicting western and Native American subjects by Alexandre de Batz, Henry Inman, and Alfred Jacob Miller, among others. Each work is accompanied by scholarly commentary that draws on extensive new research, as well as a complete exhibition and reference history. An introduction by Theodore E. Stebbins Jr. describes the history of the collection. Lavishly illustrated in color, this compendium is a testament to the nation's oldest collection of American art, and an essential resource for scholars and collectors alike.
Over the course of the 18th century a great number of artists, ranging from established painters and sculptors to amateurs, experimented with etching, an accessible form of printmaking akin to drawing. In a period when artists strained to navigate the highly regulated Academie Royale and the increasingly discordant public spheres of the marketplace and the Salon, etching afforded them stylistic freedom and allowed them to produce exquisite works of art in a spirit of collaboration and experimentation. Featuring works by Watteau, Boucher, Fragonard, Hubert Robert, and many others, Artists and Amateurs embarks on a fresh exploration of how etching flourished in ancien regime France, shedding new light on artistic practice and patronage at that time. Treating such topics as technique and practice, experimentation, and the crucial role of the amateur, it establishes the unique place of etching in the shifting social terrain of 18th-century Paris, and explores an artistic context in which conventional hierarchies of genre and medium were breached to brilliant effect.
The years from 1520 to 1630 were crucial to the development of Western architecture, but to reduce the transition from Michelangelo's 'licentious' New Sacristy in Florence to Borromini's innovative S. Carlo alle Quattro Fontane to the label 'mannerist' is coming to seem simplistic. In this freshly researched and original study, Andrew Hopkins stresses the variety of ideas being tried out at this time in response to the changing demands of function, patronage, politics and local traditions, exploring a wide range of Italian buildings (including those outside the major centres), and introducing dozens of neglected architects whose works will come as a revelation. By 1630, a consensus had emerged and architecture took on a new dynamism that would soon conquer Italy, Europe and the New World: the Baroque.
16 essays by a group of internationally acclaimed authors help contribute to a clearer perception of the complex facets of Jacob Jordaens' oeuvre -- and moreover to distinguish it from the works of Rubens, van Dyck, and his contemporaries. The title "Genius of Grand Scale" refers to the spectrum from history to genre as well as to Jordaens' preference for large formats. The greatness of the artist Jacob Jordaens needs to be emphasized, since even though he outlived Rubens for four whole decades, he was never able to escape from under his shadow. By reference to iconographic and iconological studies, single works are identified and presented in a broad review and the long, in many aspects fragmentary reception of his artistic work also forms a large part of the interpretations presented here. Furthermore, technical examinations of paintings assist in defining more precisely how they were generated.This overdue volume presents essential reading for anyone interested in Jacob Jordaens.
During the period of Rembrandt's career the Amsterdam art market grew with breathtaking speed. Each painter had to secure a place professionally and make a living, which would have been no small matter. In what kind of paintings should he specialize? How could he distinguish his works from those of his colleagues and find buyers for his products? How did he acquire a reputation, and how much were clients willing to pay? Every painter would have continuously asked himself such pressing questions. These are also the leading questions of this study, which examines the depiction of Biblical and other religious themes, classical mythology, and classical and post-classical literature across the entire range of production, from expensive high-quality works to cheap pictures. The book begins at the moment that a considerable number of young artists - among them Rembrandt - settled in Amsterdam. Twenty years later, the quantity, diversity and quality of the production of history paintings, propelled by artistic rivalry, reached its summit.
This study of Dutch seventeenth-century paintings -- allegories, portraits, still lifes and genre paintings -- recognizes the subject matter as more than a purely visual one and examines the works as a cultural manifestation, examining themes and motifs that are included the works.
De Jongh explores visual traditions, prints, emblems, writings and folklore and through a realization that there are limits to the interpretation of visual representations, he also employs methodological and theoretical issues.
De Jongh wrote these essays over a period of twenty-five years, A Bird's-Eye View of Erotica and To Instruct and Delight having a profound effect on art-historical scholarship. All these articles have now been revised. The introduction has been written especially for this anthology and many new illustrations have also been added.
"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.
The print repertoire of the 16th and 17th centuries in England has been neglected historically, and this remarkable book rectifies a major oversight in the history of English visual art. It provides an iconographic survey of the single-sheet prints produced during the early modern era and brings to light significant recent discoveries from this visual storehouse. It publishes many works for the first time, as well as placing them and those relatively few others known to specialists in their cultural context.
This large body of material is treated broadly thematically, and within each theme, chronologically. Portents and prodigies, the formal moralities and doctrines of Christianity, the sects of Christianity, visual satire of foreigners and "others," domestic political issues, social criticism and gender roles, marriage and sex, as well as numerical series and miscellaneous visual tricks, puzzles, and jokes, are all examined. The book concludes by considering the significance of this wealth of visual material for the cultural history of England in the early modern era.
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