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Saint Francis of Assisi (Hardcover)
Gabriele Finaldi, Joost Joustra; Contributions by Susanna Avery-Quash, Ayla Lepine, Laura Llewellyn, …
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R914
R723
Discovery Miles 7 230
Save R191 (21%)
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Ships in 10 - 15 working days
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Exploring the life, imagery and lasting appeal of Saint Francis of
Assisi (1182–1226), this landmark book features a core of
important historic paintings representing the saint by Giotto,
Sassetta, Caravaggio, Zurbarán and El Greco. From his native
Umbria, Saint Francis’s image spread rapidly to become a global
phenomenon and a continuous source of artistic fascination. His
commitment to the poor, powerful appeals for peace, openness to
dialogue with other religions and embryonic environmentalism
radically impacted the Church and society of his time, and still
hold great interest today. Â Spanning seven centuries and
ranging from the earliest, relic-like objects to contemporary art
in a variety of media, including works by Antony Gormley, Giuseppe
Penone and a new commission from Richard Long, Saint Francis of
Assisi reflects on the lasting legacy of Saint Francis – an
inherently modern figure who retains a universal appeal. Published
by National Gallery Global/Distributed by Yale University
Press Exhibition Schedule: The National Gallery, London, 6
May–30 July 2023 Â
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Gainsborough's Blue Boy (Paperback)
Christine Riding; Contributions by Susanna Avery-Quash, Melinda McCurdy, Imogen Tedbury, Jacqueline Riding
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R561
Discovery Miles 5 610
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Ships in 12 - 17 working days
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This richly illustrated publication explores the lasting influence
of Gainsborough's Blue Boy on British art and culture Marking the
return of Gainsborough's Blue Boy to the UK exactly 100 years since
it left for the United States, this richly illustrated publication
will explore the lasting influence of this iconic painting on
British art and culture. During the nineteenth century, the
painting's fame grew and full-length portraits by Gainsborough and
his contemporaries became much sought after by wealthy American
collectors. The sale of The Blue Boy to the American railroad
magnate and collector Henry E. Huntington in 1921 was
unsurprisingly viewed as a national tragedy-emblematic of a shift
in economic and cultural power. However, its afterlife, as a
permanent ambassador for British art, has undoubtedly fed into
ideas of Britain and Britishness-its history, society, culture and
character-that still resonate today. Including a select group of
paintings that demonstrate the profound influence of Sir Anthony
van Dyck and the old master tradition on Gainsborough's practice
and identity, Gainsborough's Blue Boy will examine this masterpiece
within the context of the National Gallery's collection. Published
by National Gallery Company/Distributed by Yale University Press
Exhibition Schedule: The National Gallery, London January 25-May
15, 2022
As prominent members of the Victorian cultural and artistic world,
Sir Charles and Lady Elizabeth Eastlake, along with their nephew
Charles Locke Eastlake, enjoyed the friendship and support of
influential figures including Prince Albert, Sir Thomas Lawrence,
J. M. W. Turner, and Sir Robert Peel. This fascinating original
biography brings the unique personality of each of the Eastlakes
into sharp focus while also exploring their important contributions
during the early days of the National Gallery. Charles Eastlake, an
artist and connoisseur, was chosen to be not only the President of
the Royal Academy from 1850, but also the National Gallery's first
Director in 1855. With his capable wife, a literary critic and art
historian in her own right, he traveled throughout Europe acquiring
significant paintings for the Gallery and implementing important
changes to their display and description. Nephew Charles, an
architect and popularizer of the Arts and Crafts style, was Keeper
at the National Gallery from 1878 to 1898. Art for the Nation tells
the remarkable story of the Eastlake family's devotion to art and
to the National Gallery during its crucial formative years.
Published by National Gallery Company / Distributed by Yale
University Press Exhibition Schedule: National Gallery, London
(07/27/11-10/30/11)
As a result of the Napoleonic wars, vast numbers of Old Master
paintings were released on to the market from public and private
collections across continental Europe. The knock-on effect was the
growth of the market for Old Masters from the 1790s up to the early
1930s, when the Great Depression put an end to its expansion. This
book explores the global movement of Old Master paintings and
investigates some of the changes in the art market that took place
as a result of this new interest. Arguably, the most important
phenomenon was the diminishing of the traditional figure of the art
agent and the rise of more visible, increasingly professional,
dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil
in France and Knoedler in the USA, came into existence. Old Masters
Worldwide explores the ways in which the pioneering practices of
such businesses contributed to shape a changing market.
For every great country house of the Georgian period, there was
usually also a town house. Chatsworth, for example, the home of the
Devonshires, has officially been recognised as one of the country's
favourite national treasures - but most of its visitors know little
of Devonshire House, which the family once owned in the capital. In
part, this is because town houses were often leased, rather than
being passed down through generations as country estates were. But,
most crucially, many London town houses, including Devonshire
House, no longer exist, having been demolished in the early
twentieth century. This book seeks to place centre-stage the hugely
important yet hitherto overlooked town houses of the eighteenth and
early nineteenth centuries, exploring the prime position they once
occupied in the lives of families and the nation as a whole. It
explores the owners, how they furnished and used these properties,
and how their houses were judged by the various types of visitor
who gained access.
In the late 1700s, as the events of the French Revolution roiled
France, London displaced Paris as the primary hub of international
art sales. Within a few decades, a robust and sophisticated art
market flourished in London. 'London and the Emergence of a
European Art Market, 1780-1820' explores the commercial milieu of
art sales and collecting at this turning point. In this collection
of essays, twenty-one scholars employ methods ranging from
traditional art historical and provenance studies to statistical
and economic analysis; they provide overviews, case studies and
empirical reevaluations of artists, collectors, patrons, agents and
dealers, institutions, sales and practices. Drawing from pioneering
digital resources-notably the Getty Provenance Index-as well as
archival materials, such as trade directories, correspondence,
stock books and inventories, auction catalogs and exhibition
reviews, these scholars identify broad trends, reevaluate previous
misunderstandings and consider overlooked commercial contexts to
illuminate artistic taste. From individual case studies to
econometric overviews, this volume is groundbreaking for its
diverse methodological range that illuminates artistic taste and
flourishing art commerce at the turn of the nineteenth century.
For every great country house of the Georgian period, there was
usually also a town house. Chatsworth, for example, the home of the
Devonshires, has officially been recognised as one of the country's
favourite national treasures - but most of its visitors know little
of Devonshire House, which the family once owned in the capital. In
part, this is because town houses were often leased, rather than
being passed down through generations as country estates were. But,
most crucially, many London town houses, including Devonshire
House, no longer exist, having been demolished in the early
twentieth century. This book seeks to place centre-stage the hugely
important yet hitherto overlooked town houses of the eighteenth and
early nineteenth centuries, exploring the prime position they once
occupied in the lives of families and the nation as a whole. It
explores the owners, how they furnished and used these properties,
and how their houses were judged by the various types of visitor
who gained access.
As a result of the Napoleonic wars, vast numbers of Old Master
paintings were released on to the market from public and private
collections across continental Europe. The knock-on effect was the
growth of the market for Old Masters from the 1790s up to the early
1930s, when the Great Depression put an end to its expansion. This
book explores the global movement of Old Master paintings and
investigates some of the changes in the art market that took place
as a result of this new interest. Arguably, the most important
phenomenon was the diminishing of the traditional figure of the art
agent and the rise of more visible, increasingly professional,
dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil
in France and Knoedler in the USA, came into existence. Old Masters
Worldwide explores the ways in which the pioneering practices of
such businesses contributed to shape a changing market.
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