This ambitious work lifts the veil on a pivotal chapter in the history of art and its social meaning. This book explores the principles of the display of art in the magnificent Roman palaces of the early modern period, focusing attention on how the parts function to convey multiple artistic, social, and political messages, all within an environment that provided a model for aristocratic residences throughout Europe. Many of the objects exhibited in museums today once graced the interior of a Roman Baroque palazzo or a setting inspired by one. In fact, the very convention of a paintings gallery - the mainstay of museums - traces its ancestry to prototypes in the palaces of Rome. Inside Roman palaces, the display of art was calibrated to an increasingly accentuated dynamism of social and official life, activated by the moving bodies and the attention of residents and visitors. Display unfolded in space in a purposeful narrative that reflected rank, honor, privilege, and intimacy. With a contextual approach that encompasses the full range of media, from textiles to stucco, this study traces the influential emerging concept of a unified interior. It argues that art history - even the emergence of the modern category of fine art - was worked out as much in the rooms of palaces as in the printed pages of Vasari and other early writers on art.

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."

This is a fascinating re-examination of the importance and legacy of provenance in the history of art. This book goes beyond the narrow definition of the term provenance, which addresses only the bare facts of ownership and transfer, to explore ideas about the origins and itineraries of objects, consider the historical uses of provenance research, and draw attention to the transformative power of ownership. The result is a volume of essays that makes a strong case for recuperating provenance - what contributing author Anne Higonnet calls "so many epic tales compressed into such dry lists" - for the history of art. Provenance attends to the social life of art, a work's biography subsequent to the moment of its origin. "Provenance" offers a broad perspective, ranging from ancient archaeology to conceptual art, that encompasses Europe, Asia, and the Americas, and considers a variety of media. The essays demonstrate in myriad ways how an owner's relationship with a work of art or, in varying degrees, with the object's previous owners can change irrevocably the way the work will be perceived and understood by future generations.