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Impressionism took its name from the title of a painting that
Claude Monet (1840-1926) exhibited in 1874. More than any other
artist, Monet was the creator of the Impressionist vision, which
has so forcefully shaped the way in which he habitually see nature
today. For sixty years he continuously explored ways of translating
his experiences into paint, in pictures that take us from the
bustling life of Paris in the 1860s to the seclusion of his own
water-garden, which he painted in his last years. John House's
introduction to Monet's life and work presents a sequence of
dazzling illustrations that chart the artist's progress as he
became increasingly preoccupied with colour and atmospheric effect,
and the direct studies of nature gave way to paintings of greater
richness and harmony, in which the play of varied colours replaced
the conventional drawing and modelling of forms.
The Thomson Collection contains examples of the highest quality of
most types of medieval ivory carving, both secular and religious.
These include large statuettes of the Virgin and Child intended to
stand on altars in chapels, small versions for private use in the
home, and folding tablets or diptychs with scenes from the life of
Christ carved in relief.
In 1966 Mark Gambier Parry bequeathed to the Courtauld Gallery the
art collection formed by his grandfather Thomas Gambier Parry, who
died in 1888. In addition to important paintings, Renaissance glass
and ceramics, and Islamic metalwork, this included 28 medieval and
Renaissance ivories. Since 1967 about half of the ivories have been
on permanent display at The Courtauld, yet they have remained
largely unknown, even to experts. This catalogue is the first
publication dedicated solely to the collection. There are examples
of the highest quality of ivory carving, both secular and religious
in content, and a number of the objects are of outstanding
interest. They are a revealing tribute to the perceptive eye of
Thomas Gambier Parry, a distinguished Victorian collector and
Gothic Revival artist responsible for a number of richly painted
church interiors in England, such as the Eastern part of the nave
ceiling, and the octagon, at Ely Cathedral.The earliest objects in
date, probably late 11th century, are the group of walrus ivory
plaquettes set into the sides and lids of a casket, portraying the
Apostles and Christ in Majesty surrounded by the symbols of the
Evangelists. The style leaves little doubt that they should be
associated with a group of portable altars at Kloster Melk in
Austria. A gap of some two centuries separates the casket panels
from the next important object - the central portion of an ivory
triptych, containing a Deesis group of Christ enthroned between
angels holding instruments of the Passion in the upper register,
and the Virgin and Child between candle-bearing angels below. The
style of the ivory relates it securely to the atelier of the
Soissons Diptych in the Victoria & Albert Museum. The
Gambier-Parry fragment employs bold cutting of the frame to
accentuate the three-dimensional quantities of the relief. Somewhat
later in date, towards the middle of the 14th century, is a
complete diptych of the Crucifixion and Virgin with angels, the
faces of which Gambier-Parry described as worthy of Luini. The
extraordinary foreshortening of the swooning Virgin's head can
happily be paralleled to a diptych in the Schoolmeesters
Collection, Lie'ge, bythe aterlie aux visages caracte'rise's, as
named by Raymond Koechlin. The Gambier- Parry diptych, must rank
with the finest productions of the workshop.
Contents: Alixe Bovey; Introduction Michelle P. Brown; An Early
Medieval Outbreak of 'Influenza'? Concepts of 'Influence', Medieval
and Modern George Henderson; Insular Art: Influence and Inference
Lawrence Nees; Godescalc's Career and the Problems of 'Influence'
William Diebold; The Anxiety of Influence in Early Medieval Art
Helen C. Evans; Pseudo-Bonaventura on the Euphrates Donal Cooper;
Franciscan Art and Mendicant Manuscript Illumination in Italy: A
Reconsideration of Iconographic Primacy Robert Gibbs; 'Sober as a
Judge': The Influence of Bolognese Law Manuscripts on Ambrogio
Lorenzetti's Allegory of Justice in the Good Commune Lucy Freeman
Sandler; Illuminated in the British Isles: French Influence and/or
the Englishness of English Art, 1285-1385 T. A. Heslop; Authority
and Imagination in the Illustration of Terence's Comedies Patricia
Stirnemann & Anne Ritz-Guilbert; Cultural Confrontations Ursula
Weekes; The Interplay between Prints and Illuminated Manuscripts in
Brigittine Convents of the Low Countries during the 16th Century
Scot McKendrick; Between Flanders and Normandy: A Case of Influence
within Collaboration between Flemish and Norman Miniaturists? Rowan
Watson; Fit for a King? The Alfonso of Aragon Hours and Baronial
Patronage in Late 15th-century Naples John Lowden; Under the
Influence of the Bibles Moralisees Cecily Hennessy; The Lincoln
Typikon: The Influences of Church and Family Justine Andrews;
Crossing Boundaries: Byzantine and Western Influences in a
14th-century Illustrated Commentary on Job Dei Jackson; A Work Like
No Other: Alfonso X's Cantigas de Santa Maria Kirstin Kennedy;
Evidence for the Islamic Source behind the Miniatures in Alfonso X
of Castile's 1283 Libro de Ajedrez, dados y tables David Ganz;
Problems of Influence in the Utrecht Psalter.
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Richard Wright (Hardcover)
Russell Ferguson, John Lowden, Sarah Lowndes
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R1,544
R1,205
Discovery Miles 12 050
Save R339 (22%)
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Ships in 12 - 17 working days
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An extensive monograph surveying the recent major works of artist
Richard Wright. This fully illustrated publication presents
Wright's exquisite paintings and drawings. Wright states "I wanted
to get to the idea without the object getting in the way." This
attitude led to paintings of extraordinary skill made directly onto
the wall that do away with the physicality of the canvas. This
publication records these special transient events where paintings
have appeared, and for the most part, no longer exist. Winner of
the prestigious Turner Prize (2009), Wright's work was praised by
the judges for its "profound originality and beauty."
In the 1320's AD the Emperor Constantine moved the capital of his
Empire from Rome to Byzantium, which was renamed Conatantinople,
and until its fall in 1453 remained a major artistic centre. Under
successive emperors and empresses for more than a thousand years,
artists, archtects and craftsmen produced superb and intriguing
works ranging fom the grandest public buildings to the smallest and
most personal items. Today this art is generally termed early
Christian and Byzantine.
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