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Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge, landskappe, genrestukke, portrette, blomstudies en stillewes, interieurs, dierestudies en grafiese werk. Geen moeite is ontsien om hierdie boek so volledig en betroubaar moontlik te maak nie. Argivale bronne in die Kunsargief van die Universiteit van Pretoria, die Argief van die Johannesburg Kunsmuseum en die Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra tot die toevoeging van inligting oor hierdie kunstenaar wat nie voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang lesing met detailinligting oor Oerder se vroee lewe deur mev. Lorimer in die Kunsargief van die Universiteit van Pretoria het bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot dusver is nog geen volledige geskiedenis van sy deelname aan die oorlog geskryf nie. In hierdie boek word Oerder se Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig moontlik afgedruk en beskryf.
Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'. Translated by Shaun Whiteside With an epilogue by Joseph Masheck
This illustrated catalog of Thomas Moran's field sketches includes
an interpretive essay tracing the artist's seventy-year career in
the field; a chronological, stylistic, and geographical survey of
his fieldwork; an illustrated checklist of the 1080 sketches in
The garden and landscape designs of America's founding architect. Collaboration with the greatest botanists of his time, an instinctive humanitarianism, and a natural ingenuity in landscape design combined to make Thomas Jefferson a pioneer in American landscape architecture. Frederick D. Nichols and Ralph E. Griswold, in this close study of Jefferson's many notes, letters, and sketches, present a clear and detailed interpretation of his extraordinary accomplishments in the field. Thomas Jefferson, Landscape Architect investigates the many influences on--and of--the Jeffersonian legacy in architecture. Jefferson's personality, friendships, and convictions, complemented by his extensive reading and travels, clearly influenced his architectural work. His fresh approach to incorporating foreign elements into domestic designs, his revolutionary approach to relating the house to the surrounding land, and his profound influences on the architectural character of the District of Columbia are just a few of Jefferson's contributions to the American landscape. Eighteenth-and nineteenth-century maps, plans, and drawings, as well as pictures of the species of trees that Jefferson used for his designs, generously illustrate the engaging narrative in Thomas Jefferson, Landscape Architect.
Written by Marilyn Martin, a former director of the South African
National Gallery, Between Dreams and Realities is based on
extensive research and experience. This book revisits important
exhibitions, events and forgotten controversies; it highlights the
achievements of directors, who often faced political agendas and
strained relationships within and outside the institution. Between
Dreams and Realities considers the aspirations and role of civil
society in creating and maintaining a national institution for the
Originally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco -- seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyses how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. As a result, El Greco was transformed from an extravagant outsider and a secondary painter into the founder of the Spanish School and one of the principle predecessors of modern art, increasingly related to that of the Impressionists -- due primarily to the German critic Julius Meier-Graefe's influential History of Modern Art (1914). This shift in artistic preference has been attributed to the rise of modern art but Eric Storm, a cultural historian, shows that in the case of El Greco nationalist motives were even more important. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public.
Lord Hastings's journal of his travels from Calcutta to the Punjab in 1814-1815 records the events and views of this journey accompanied by 200 large watercolour illustrations by Sita Ram. This book includes an edited version of the journal charting his passage through the India of the early nineteenth century. Though Sita Ram's picturesque paintings were a sharp departure from the accurate `Company' views of Indian monuments, they nonetheless revealed his eye for architectural detail. Taking the readers along as part of Lord Hastings's party, J. P. Losty brings alive the seventeen- month long expedition in a flotilla of 220 boats from Barrackpore past Patna, Benares, Allahabad and Cawnpore, and then overland to Lucknow, Delhi and the Punjab, through Sita Ram's never-before-published paintings of Colonial India.
The artist who created the statue for the Lincoln Memorial, John Harvard in Harvard Yard, and The Minute Man in Concord, Massachusetts, Daniel Chester French (1850-1931) is America's best-known sculptor of public monuments. Monument Man is the first comprehensive biography of this fascinating figure and his illustrious career. Full of rich detail and beautiful archival photographs, Monument Man is a nuanced study of a preeminent artist whose evolution ran parallel to, and deeply influenced, the development of American sculpture, iconography, and historical memory. Monument Man was specially commissioned by Chesterwood / National Trust for Historic Preservation. The release will coincide with the fiftieth anniversary of the opening of Chesterwood, his country home and studio, as a public site and with a major renovation of the Lincoln Memorial. The book includes a comprehensive geographical guide to French's public work.
John Constable, one of the most beloved of British painters, is renowned for his poetic approach to nature and his extraordinary use of broken color. In this beautiful two-volume set, the dean of Constable scholars, Graham Reynolds, discusses all the paintings and drawings the artist produced between 1790 and 1816, both before and after his breakthrough into the original style that is the basis of his fame. Together with Reynolds's award-winning The Later Paintings and Drawings of John Constable (1984), the books are a catalogue raisonne of this artist's monumental oeuvre. The two volumes, one of text and one of plates, describe and reproduce 1370 paintings and drawings in chronological order. They begin with Constable's juvenilia and tentative experiments before he went to London in 1799 to become a professional artist. Next are some lesser-known works-elegant figure studies of girls, Constable's first portraits, and his Lake District watercolors. Finally are the works after 1808-Dedham Vale: morning, Flatford Mill from a Lock on the Stour, A Summerland, The Stour Valley and Dedham Village, and the recently rediscovered The Wheatfield-works that made Constable a major force in British landscape painting. The volumes also include Constable's numerous sketches of his homeland around East Bergholt and Dedham from this period, drawings on which he based his later masterpieces. An appendix records and reproduces, as addenda to The Later Paintings and Drawings, 94 works produced between 1817 and 1836 that have come to light since those books were published.
This is a guide to the Thyssen-Bornemisza Foundation of Villa Favorita in Lugano. The Foundation's collection includes masterpieces of 19th- and 20th-century American painting and European and Soviet Avantgardes. Works range from the Hudson River School (Bierstadt, Church, Cole) to the major American Expressionists (Hawthorne, Hassam, Wadsworth, Thomson), to the periods of Cubism (Leger), German Expressionism (Nolde, Schmidt-Rortluff, Schiele), the Russian avant-garde (Larionov, Malevich), the Dada and Surrealist movements (Man Ray, Ernst), up to Action Painting (Pollock) and Hyper-realism (Estes). This brief guidebook displays the new installation of the Foundation and features a section devoted to the sculpture and old master paintings belonging to this collection, as well as an essay on the history of the Villa Favorita and its gardens on the shores of Lake Lugano.
An artist who worked across many media, the multi-skilled Gustave Dore remains unequalled as a supremely talented illustrator, whose detailed and imaginative engravings for major works of literature - from Cervantes's Don Quixote to Dante's Divine Comedy, and even the Bible - have hugely influenced the way we see many cultural and literary characters and still inspire today (David Beckham has a tattoo on his chest of Dore's The Agony in the Garden). This sumptuous new introduction to the artist focuses on these illustrations, first introducing you to his life, work and the rich seam of illustration history that he continued and ignited, from Blake and Fuseli to today's newspaper comics, before presenting a carefully curated thematic selection of his finest and most important engravings. From his vision of Jacob Wrestling with the Angel to Crossing the River Styx, the work of this most prodigious and much borrowed-from artist is represented in glorious full-page reproductions.
Born in Gyffin, near Conway, Wales, John Gibson (1790-1866) moved with his family to Liverpool, where he trained as a cabinet-maker and mason. The historian and banker William Roscoe whetted Gibson's appetite for classical statuary, and provided him with a scholarship and funds to visit Rome. Gibson arrived in the city in 1817 and entered the workshop of Europe's pre-eminent sculptor: Antonio Canova. Soon acclaimed in his own right, Gibson remained in the city until his death in 1866. Contact with artists and patrons on the Grand Tour ensured lasting links with Britain, and this publication highlights Gibson's sculptures in such collections as the National Portrait Gallery, the British Museum, Westminster Abbey, Parliament and the Royal Collection. Gibson bequeathed to the Royal Academy drawings, plasters and sculptures, as well as correspondences, accounts and notebooks; some reproduced here for the first time.
Business leader and arts patron Sir Edwin A. G. Manton (1909-2005) and his wife Florence, Lady Manton, assembled an outstanding collection of 18th- and 19th-century British art. A gift to the Clark Art Institute from the Manton Foundation in 2007, their collection features more than three hundred oil paintings, watercolors, drawings, and prints, including works by John Constable, J. M. W. Turner, Thomas Gainsborough, and William Blake.
In a series of wide-ranging essays, prominent scholars consider the major works and themes in the collection, relating them to larger issues within the field of British studies. Individual essays are devoted to Constable's oil sketches, cloud studies, and magisterial painting "The Wheat Field"; the growth of the watercolor tradition; print portfolios and narrative series; Thomas Rowlandson's satiric drawings; and Gainsborough's use of experimental materials as revealed through recent scientific analysis. The volume concludes with an illustrated checklist of the works in the collection.
Modernism, referring to the period dating roughly from the late 19th century to 1970, is regarded as a crucial moment in the history of American art. Although Modernist artists adopted a wide range of styles, they were linked by a desire to interpret a rapidly changing society and to cast aside the conventions of representational art. Some, such as Stuart Davis and Joseph Stella, responded to consumerism, urbanism and industrial technology; others, such as Arthur Dove and Georgia O'Keeffe, found inspiration in nature and the Native American culture of the Southwest. This magnificent new book presents the works of the Vilcek Collection, an unparalleled private collection of American Modernist paintings, drawings and sculpture. Art historian Lewis Kachur explores almost 100 rarely seen works by 20 leading artists active during the first half of the last century, while William C. Agee contributes an incisive introduction. Lavishly illustrated throughout, Masterpieces of American Modernism provides an outstanding overview of the radical shift in art driven by this major aesthetic movement.
Between 1790 and 1910, Danish painters developed a national school of art that matched the artistic centres of France, Germany and Britain. The range of outstanding works created by Nicolai Abildgaard, Jens Juel, Christoffer Wilhelm Eckersberg, Christen Kobke, P. S. Kroyer and Vilhelm Hammershoi reflect and refract the great stylistic tendencies of European art of the 19th century, including Classicism, Romanticism, Impressionism and Symbolism. Illustrated with over two hundred key works of art drawn from the leading Danish collections, this is the only book available in English that surveys Danish painting across the 19th century. Written by a major scholar in the field, and featuring all the icons of the Danish Golden Age, this is an essential addition to all art libraries.
An examination of one of Walker Evans's iconic photographs of the Great Depression. Kitchen Corner, Tenant Farmhouse, Hale County, Alabama shows a painstakingly clean-swept corner in the house of an Alabama sharecropper. Taken in 1936 by Walker Evans as part of his work for the Farm Security Administration, Kitchen Corner was not published until 1960, when it was included in a new edition of Walker Evans and James Agee's classic Let Us Now Praise Famous Men. The 1960 reissue of Evans and Agee's book had an enormous impact on Americans' perceptions of the Depression, creating a memory-image retrospectively through Walker's iconic photographs and Agee's text. In this latest addition to the Afterall One Work series, photographer Olivier Richon examines Kitchen Corner. The photograph is particularly significant, he argues, because it uses a documentary form that privileges detachment, calling attention to overlooked objects and to the architecture of the dispossessed. Given today's growing economic inequality, the photograph feels pointedly relevant. The FSA, established in 1935, commissioned photographers to document the impact of the Great Depression in America and used the photographs to advertise aid relief. For four weeks in the summer of 1936, Evans collaborated with Agee on an article about cotton farmers in the American South. The result of that project was the landmark publication Let Us Now Praise Famous Men, documenting three sharecropper families and their environment. These photographs were intimate, respectful portraits of the farmers, and of their homes, furniture, clothing, and rented land. Kitchen Corner powerfully evokes Agee's observations of the significance of "bareness and space" in these homes: "general odds and ends are set very plainly and squarely discrete from one another... [giving] each object a full strength it would not otherwise have."
oannis Makriyannis (1797-1864) was a Greek politician and author, best known today for his Memoirs. Starting from humble origins, he joined the Greek struggle for independence, achieving the rank of general and leading his men to notable victories. Following Greek independence, he had a tumultuous public career, playing a prominent part in the granting of the first Constitution of the Kingdom of Greece and later being sentenced to death and pardoned. Despite his important contributions to the political life of the early Greek state, general Makriyannis is mostly remembered for his Memoirs. Aside from being a source of historical and cultural information about the period, it led Nobel laureate Giorgos Seferis to call Makriyannis `one of the greatest masters of Modern Greek prose'. hese aquarelles, a series of 24 paintings, vividly depict episodes from the Greek War of Independence of 1821 and from the Memoirs. Painted by Panayiotis and Dimitrios Zografou from Sparta, the series belonged to King Otto of Greece, the first monarch of `modern' Greece. They were bought by Joannes Gennadius (1844-1932) in Rome in 1909. This volume from Kapon Editions, in association with the Gennadius Library, includes historical documents along with texts that look at Makriyannis - the `hero of the Greek War of Independence' - as well as Joannes Gennadius (1844-1932) the Greek diplomat, book collector, writer and benefactor, founder of the Gennadius Library now housed in The American School of Classical Studies at Athens.
What is modern art? Why do we either love it or loathe it? And why is it worth so much damn money? Join Will Gompertz on a dazzling tour that will change the way you look at modern art forever. From Monet's water lilies to Van Gogh's sunflowers, from Warhol's soup cans to Hirst's pickled shark, hear the stories behind the masterpieces, meet the artists as they really were, and discover the real point of modern art. You will learn: not all conceptual art is bollocks; Picasso is king (but Cezanne is better); Pollock is no drip; Dali painted with his moustache; a urinal changed the course of art, why your five year-old really couldn't do it. Refreshing, irreverent and always straightforward, What Are You Looking At? asks all the basic questions that you were too afraid to ask. Your next gallery trip is going to be a little less intimidating and a lot more interesting.
American art has been essential to The Phillips Collection since its founding by Duncan Phillips in 1921. Phillips's collecting interests were decidedly against the grain: he acquired the work of living American artists, especially those outside the mainstream, when it was unpopular to do so and promoted diversity, as seen in works by self-taught artists, artists of color, and naturalized Americans, resulting in a rich assembly of independent-minded artists, including Milton Avery, Stuart Davis, Arthur Dove, and Georgia O'Keeffe. The Phillips Collection's superb collection of American art, acquired over half a century, is presented here for the first time in a comprehensive overview, featuring 160 works from heroes of the late 19th century-such as William Merritt Chase, Thomas Eakins, and Winslow Homer, who set the course for modern art in America-to abstract expressionists Willem de Kooning, Richard Diebenkorn, Adolph Gottlieb, and Mark Rothko, whose efforts to create a new visual language following World War II brought a new global significance to American art. A perennial guide to this important collection, the book includes scholarly essays on Phillips and on the Rothko Room, introductions to key groups of works in the collection, more than one hundred biographies of the most influential artists represented, and a chronology of Phillip's acquisitions and interactions with American artists.
Vincent van Gogh explores the life and work of the troubled artistic genius, brought close to the brink of madness, who left one of the most startling artistic legacies of the late nineteenth century when, in 1890, he took his own life. It follows the path that led him from his early attempts to forge a career, via his initial foray into the world of art during which he produced his famous earthy portrayals of Dutch peasants, such as The Potato Eaters, to the inspiration of colour and new styles that he discovered in Paris, to the sunlight of Provence with its fierce blues and yellows, and his final days in the village of Auvers-sur-Oise. Gloriously illustrated with such classics as his favourite Sunflowers, Starry Night and his self-portraits, it also contains rare documents such as van Gogh's letters to his brother and sister, the medical analysis of his illness and the announcement card of the artist's death in 1890.
In So Much Longing in So Little Space, Karl Ove Knausgaard explores the life and work of Edvard Munch. Setting out to understand the enduring power of Munch's painting, Knausgaard reflects on the essence of creativity, on choosing to be an artist, experiencing the world through art and its influence on his own writing. As co-curator of a major new exhibition of Munch's work in Oslo, Knausgaard visits the landscapes that inspired him, and speaks with contemporary artists, including Vanessa Baird and Anselm Kiefer. Bringing together art history, biography and memoir, and drawing on ideas of truth, originality and memory, So Much Longing in So Little Space is a brilliant and personal examination of the legacy of one of the world's most iconic painters, and a meditation on art itself.
William Powell Frith (1819-1909) was the most celebrated painter of modern-life subjects in mid-Victorian England and the most popular British artist of that time. Published to mark the bicentenary of his birth and in association with an exhibition at the Mercer Art Gallery, Harrogate, this volume of essays offers fresh perspectives on three of Friths great panoramas of the Victorian scene Life at the Seaside (Ramsgate Sands), The Derby Day and The Private View at the Royal Academy. They are introduced by a survey of contemporary and later responses to Friths paintings. Further contributions explore important but hitherto neglected aspects of the artists life, work and influence. These range from Friths connections with Yorkshire (the county of his birth) and his circle of women friends to the key role played by the print trade in the popularisation of his images and their re-creation as tableaux on the London stage.
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