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Georges de La Tour's haunting depiction of a repentant Mary
Magdalen gazing into a mirror by candlelight; Jean Simeon Chardin's
perfectly balanced image of a young boy making a house of cards;
Jean Honore Fragonard's monumental suite of landscapes showing
aristocrats at play in picturesque gardens--these are among the
familiar and beloved masterpieces in the National Gallery of Art,
which houses one of the most important collections of French old
master paintings outside France. This lavishly illustrated book,
written by leading scholars and the result of years of research and
technical analysis, catalogues nearly one hundred paintings, from
works by Francois Clouet in the sixteenth century to paintings by
elisabeth Louise Vigee Le Brun in the eighteenth.
French art before the revolution is characterized by an
astonishing variety of styles and themes and by a consistently high
quality of production, the result of an efficient training system
developed by the traditional guilds and the Royal Academy of
Painting and Sculpture, founded in 1648 by King Louis XIV. The
National Gallery collection reflects this quality and diversity,
featuring excellent examples by all the leading painters: ideal
landscapes by Claude Lorrain and biblical subjects by Nicolas
Poussin, two artists who spent most of their careers in Rome;
deeply moving religious works by La Tour, Sebastien Bourdon, and
Simon Vouet; portraits of the grandest format (Philippe de
Champaigne's "Omer Talon") and the most intimate (Nicolas de
Largillierre's "Elizabeth Throckmorton"); and familiar scenes of
daily life by the Le Nain brothers in the seventeenth century and
Chardin in the eighteenth. The Gallery's collection is especially
notable for its holdings of eighteenth-century painting, from Jean
Antoine Watteau to Hubert Robert, and including marvelous suites of
paintings by Francois Boucher and Fragonard. All these works are
explored in detailed, readable entries that will appeal as much to
the general art lover as to the specialist."
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Steps Upward
Frances Gage
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R1,749
R1,645
Discovery Miles 16 450
Save R104 (6%)
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Ships in 10 - 15 working days
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Steps Upward
Frances Gage
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R2,269
R2,117
Discovery Miles 21 170
Save R152 (7%)
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Ships in 10 - 15 working days
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In Painting as Medicine in Early Modern Rome, Frances Gage
undertakes an in-depth study of the writings of the physician and
art critic Giulio Mancini. Using Mancini’s unpublished treatises
as well as contemporary documents, Gage demonstrates that in the
early modern world, belief in the transformational power of images
was not limited to cult images, as has often been assumed, but
applied to secular ones as well. This important new interpretation
of the value of images and the motivations underlying the rise of
private art collections in the early modern period challenges
purely economic or status-based explanations. Gage demonstrates
that paintings were understood to have profound effects on the
minds, imaginations, and bodies of viewers. Indeed, paintings were
believed to affect the health and emotional balance of
beholders—extending even to the look and disposition of their
offspring—and to compel them to behave according to civic and
moral values. In using medical discourse as an analytical tool to
help elucidate the meaning that collectors and viewers attributed
to specific genres of painting, Gage shows that images truly
informed actions, shaping everyday rituals from reproductive
practices to exercise. In doing so, she concludes that sharp
distinctions between an artwork’s aesthetic value and its utility
did not apply in the early modern period.
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