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'Never was a painter more nobly joyous, never did an artist take a
greater delight in life, seeing it all as a kind of breezy festival
and feeling it through the medium of perpetual success...He was the
happiest of painters.' Henry James on Veronese, 1909 Collected here
for the first time, these fascinating early biographies (one of
which has never been translated before) describe and celebrate the
astonishingly fertile art of Paolo Veronese. Most of what we know
about Veronese comes from these three essays. 'I have known this
Paolino and I have seen his beautiful works. He deserves to have a
great volume written in praise of him, for his pictures prove that
he is second to no other painter', wrote Veronese's contemporary
Annibale Carracci in the margins to his copy of Vasari's writings,
continuing 'and this fool passes over him in four lines. And just
because he was not Florentine.' It was indeed a measure of his fame
that Vasari, whose Life of Veronese is reprinted here, should have
overcome his pro-Tuscan prejudices to write about his great
Venetian contemporary; and he was followed in this by another
Florentine, the theorist Raffaele Borghini. But the most striking
record of the impact of Veronese's art on his countrymen is the
extensive biography by his fellow Venetian, Carlo Ridolfi. Entirely
original in the seriousness and passion with which he approached
his subject, Ridolfi permanently changed the course of writing
about art. This is the first translation of his work into English.
Translated and introduced by Xavier F. Salomon, curator of
Veronese: Renaissance Magnificence at the National Gallery, London.
Fifty pages of colour illustrations cover the span of Veronese's
breath-taking career.
This pastel belongs to a small number of works of art at the Frick
by a female artist. Rosalba Carriera (Italian, 1673 1757) spent
most of her life in Venice, then a popular destination for young
aristocrats from all over Europe undertaking the Grand Tour-a tour
of the continent that served as an educational rite of passage into
adulthood. Many of these travelers would go to Rosalba's studio to
have a portrait painted, and Rosalba, who began her career as a
miniaturist painter in Venice, became internationally acclaimed.
Rosalba's pastels are technically innovative, remarkable for their
soft edges and sumptuous effects. By binding colored chalk into
sticks, she obtained a much wider range of prepared colors, which
ultimately expanded the visual possibilities of this medium. Little
is known about this portrait, painted about 1730. Despite the
fragility of the medium-pastel-it is in pristine condition. The
portrayal of the man as a pilgrim, with a black cape and holding a
staff, may indicate that he was a member of the Pellegrini
family-pellegrini being the Italian word for pilgrims-or that he is
someone who traveled on a pilgrimage. More likely, however, his
attire is simply a costume related to the Venetian Carnival.
Designed to foster critical engagement and interest specialist and
non-specialist alike, each book in the Frick Diptych series
illuminates a single work in the Frick's rich collection with an
essay by a Frick curator paired with a contribution from a
contemporary artist or writer. AUTHORS: Born in Lausanne in 1980,
Nicolas Party is a figurative painter who has achieved critical
admiration for his familiar yet unsettling landscapes, portraits,
and still lifes that simultaneously celebrate and challenge
conventions of representational painting. His works are primarily
created in soft pastel, an idiosyncratic choice of medium in the
21st-century, and one that allows for exceptional degrees of
intensity and fluidity in his depictions of objects both natural
and manmade. Xavier F. Salomon is deputy director and Peter Jay
Sharp Chief Curator, The Frick Collection, New York. SELLING
POINTS: . New volume in the best selling Frick Diptych series that
began with Holbein's Sir Thomas More by Hilary Mantel . Volume 13
focuses on an exquisite eighteenth-century Italian portrait 45
colour illustrations
The Three Philosophers by Giorgione (Italian, 1477 1510) in the
Kunsthistorisches Museum in Vienna and St. Francis in the Desert by
Giovanni Bellini (ca. 1424/35 1516) in The Frick Collection, New
York, are two of the most celebrated paintings of the Venetian
Renaissance. Between at least 1525 and 1556 the two paintings were
displayed together in the same house in Venice, the palazzo of
Taddeo Contarini (ca. 1466 1540), a member of one of Venice's
wealthiest patrician families. For the first time in more than four
hundred years, these two masterpieces will be reunited.
Accompanying their display at the Frick, this book explores the
origins of the paintings and re-evaluates their shared histories in
the collection of Taddeo Contarini. AUTHOR: Xavier F. Salomon is
the deputy director and Peter Jay Sharp Chief Curator at the Frick
Collection in New York. SELLING POINTS: . Reunites two Italian
Renaissance masterpieces after more than four centuries apart,
affording a re-examination of their joint history 35 colour
illustrations
According to Nico Muhly, the Coronation of the Virgin is "a panel
of pure theatre and music". Painted in 1358 by the Venetian artist
Paolo Veneziano (ca. 1295-1362), the apocryphal story of the
Virgin's death is depicted in one of the artist's most thrilling
and important works. Paolo Veneziano presents the Virgin and Christ
in sumptuous garments and surrounded by a choir of angels playing
portable organs, lutes, trumpets, tambourines, and other
instruments. The angels symbolize the harmony of the universe;
their instruments are the authentic components of a medieval
orchestra, accurately depicted and correctly held and played. The
decorative sparkle of the surface - with its brilliant, expensive
colours, patterned textiles, and lavish gold leaf - reflects the
Venetians' love of luxury, a taste that enriches much of 14th- and
15th-century architecture in Venice.
A major figure in the Arte Povera movement of the late 1960s, the
renowned Italian artist Giuseppe Penone is known for his
exploration of the relationship between art and the natural world
in a body of work that includes sculpture, performance, works on
paper, and even garden design. His first works in porcelain, the
exquisite disks presented here draw attention to the moment of
touch—the convergence of surface and skin—that underpins so
much of his work. Published to accompany The Frick Collection, New
York’s temporary installation of works by Penone, this new volume
comprises eleven porcelain disks that the artist made during his
2013 residency at the Manufacture Nationale de Sèvres, the
influential porcelain factory founded in the 18th century. A
continuation of his Propagazioni (Propagations) series, begun in
1995, which includes various media, each disk bears the imprint of
one of the artist’s fingertips. One of them is in gold, its
imprint a variation on the artist’s index finger. Never before
presented to the public, the installation of the disks in a gallery
adjacent to the Frick’s early Italian paintings on gold grounds
and the porcelain room kindles a rich artistic dialogue with both
porcelain and gold.
Living Histories: Queer Views and Old Masters is an exciting volume
featuring the work of four New York based artists, each presenting
a single new work in conversation with celebrated paintings in The
Frick Collection, with particular emphasis on issues of gender and
queer identity typically excluded from narratives of early modern
European art. The idea of commissioning four works to display at
Frick Madison emerged when four masterpieces by Vermeer, Holbein,
and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon,
Doron Langberg, Toyin Ojih Odutola and Salman Toor were
commissioned to replace them, alongside other works by these
artists. This book is the result of the four New York artists'
responses to the Frick's collection, and the conversations their
work engendered. Written contributions are provided by Jonathan
Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds,
Legacy Russell, and Russell Tovey. SELLING POINTS: . Queer art for
the Old Masters . Ties in with a series of ongoing installations of
works by contemporary LGBTQ+ artists produced in response to
selected works at the Frick . Contributions by artists, writers and
curators bring a diverse and rich perspective . Featured artists
Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, and Salman Toor
allow us to see long-familiar works in the Frick's collection in
new ways . Doron Langberg's Lover is paired with Hans Holbein's Sir
Thomas More;; Jenna Gribbon's What Am I Doing Here? I Should Ask
You the Same with Holbein's Thomas Cromwell Salman Toor's Museum
Boys with Johannes Vermeer's Officer and Laughing Girl and Toyin
Ojih Odutola's The Listener with Rembrandt's Self-Portrait 45
colour illustrations
This beautiful publication presents for the first time the
Eveillard Gift of drawings to The Frick Collection, the most
important gift of drawings and pastels in its history. It
accompanies an exhibition at the Frick and includes a catalogue of
the works and commentaries by noted scholars. Twenty-six works of
art promised to The Frick Collection by Elizabeth and Jean-Marie
Eveillard dramatically advance the museum's commitment to the
research and display of European drawings. Included in this
transformative gift from two longtime supporters of the Frick are
exquisite drawings, pastels, prints, and one oil sketch by Francois
Boucher, Gustave Caillebotte, Edgar Degas, Eugene Delacroix,
Jean-Honore Fragonard, Thomas Lawrence, Francisco de Goya y
Lucientes, John Singer Sargent, Elisabeth Vigee Le Brun, and
Jean-Antoine Watteau, among others. The works include figurative
sketches, independent studies, portraits, and landscape scenes,
each either deepening the museum's celebrated holdings or bringing
the work of an artist who is not face=Calibri>- but should be -
represented in the collection. This lavishly illustrated
publication, which accompanies an exhibition at the Frick, includes
a catalogue of the works, as well as comprehensive commentaries on
each of promised gifts written by noted scholars in their field.
An essay by Xavier F. Salomon paired with a contribution by
award-winning novelist Alan Hollinghurst bring to life Jean-Honore
Fragonard's (1732-1806) Progress of Love, a series of fourteen
paintings considered by many to be the artist's masterpiece. The
first four paintings were commissioned in 1771 for the comtesse du
Barry, to be installed in 1772 in Louveciennes, the pavilion
outside Paris built for her by her lover, Louis XV. By 1773 the
canvases, The Pursuit, The Meeting, The Lover Crowned and Love
Letters, had been rejected by Du Barry and returned to the artist.
In 1790 Fragonard moved the canvases to his cousin's house, the
Villa Maubert, in Grasse, and over the course of the year painted
ten additional panels: two large-scale works, Love Triumphant and
Reverie; four narrow "strips" depicting hollyhocks, and four
overdoors of putti. Sold by the Maubert estate to the dealer
Agnew's in 1898, the works were purchased in February 1915 by the
industrialist Henry Clay Frick. By May 1916 the panels were
installed at Frick's new mansion in New York in the present-day
Fragonard Room in The Frick Collection.
An essay by Xavier F. Salomon, Frick Curator, paired with a
contribution by author Francine Prose bring to life one of Titian's
most personal and revealing portraits. Author of lives of saints,
scurrilous verses, comedies, tragedies, and innumerable letters,
Pietro Aretino (1492-1556) attained considerable wealth and
influence, in part through literary flattery and blackmail. Little
is known of his early years, but by 1527 he had settled permanently
in Venice. Among Aretino's friends and patrons were some of the
most prominent figures of his time, several of whom gave him gold
chains such as the one he wears in this portrait. He was on
intimate terms with Titian, who painted at least three portraits of
him. Here the artist conveys his friend's intellectual power
through the keen, forceful head and his worldliness through the
solid, weighty mass of the richly robed figure.
Based on the critically acclaimed video series of the same name,
Cocktails with a Curator presents a lively, relaxed, and
informative mini-lecture on a single work in the Frick s
collection. Most of the works discussed are paintings, but
sculpture, drawings, and decorative arts objects are also subjects.
Each commentary is accompanied by a recipe for a cocktail that ties
in with the work presented. For instance, a Jaded Countess
(absinthe, vodka, lemon juice, and simple syrup) is the cocktail
paired with Ingres s beautiful portrait Comtesse d Haussonville.
The Bloody Mary joins the intriguing story of the painting of Sir
Thomas More by Hans Holbein the Younger, and a classic Pimm s Cup
accompanies Thomas Gainsborough s lovely depiction of Grace
Dalrymple Elliott. The inspiring and knowledgeable personalities of
the curators come out with each of the sixty-five tales, all edited
with an eye toward maintaining the tone of the videos.
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Frick Madison (Hardcover)
Xavier F. Salomon; Photographs by Joseph Coscia Jr.; Ian Wardropper; Foreword by Roxane Gay
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R1,435
R1,165
Discovery Miles 11 650
Save R270 (19%)
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The Old Master paintings and European sculpture and decorative arts
at the renowned Frick Collection might be thought to be all but
inextricable from the domestic setting of the Gilded Age mansion in
which they reside. For a couple of years, however, while the Frick
is undergoing renovation, highlights from the collection have been
relocated to a radically different, unlikely home: Marcel Breuer's
Brutalist building five blocks away, which the architect designed
for the Whitney Museum of American Art. The result is a stunning
reconstruction and re-presentation of a beloved collection, with
the museum's treasures comfortably and elegantly adapting to their
temporary modernist abode. This handsome volume documents this
altogether singular moment in the Frick's history with stunning
photographs by Joseph Coscia Jr. and a reflective foreword by
Roxane Gay.
A revealing exploration of Bartolomé Esteban Murillo’s genre
paintings and the cultural significance of his depictions of
ordinary people Bartolomé Esteban Murillo (1617–1682) is best
known for his religious subject matter, yet some of his most iconic
works depict secular themes. Celebrating Murillo’s genre
paintings and shedding new light on the innovative portrayals of
beggars, street urchins, and flower girls in the artist’s
culturally rich narratives of youth and age, romance and seduction,
and faith and charity, this generously illustrated volume features
insightful essays that address Murillo’s art through the lenses
of antiquity, northern culture, portraiture, and diversity in the
city of Seville. The catalogue also contains detailed commentaries
on the more than fifty works included in the exhibition, further
exploring these paintings’ complex meanings to reveal their
importance in their own time and suggest their relevance in our
own. Distributed for the Kimbell Art Museum Exhibition Schedule:
Kimbell Art Museum, Fort Worth, TX (September 18, 2022–January
29, 2023)
This beautifully illustrated book, with numerous essays by an
international roster of leading art historians, examines Jacopo
Tintoretto's masterpiece Angel Foretelling the Martyrdom of Saint
Catherine of Alexandria, painted between 1560 and 1570 for the
Church of San Geminiano in Venice. It was displayed in this
location for some 250 years until the church was demolished in
1807, and in 1818 the painting was sold into private hands. It was,
famously, the centrepiece of the late rock star David Bowie's
collection, being one of the first artworks he acquired. He had it
for nearly 30 years, and named his record label after the artist
(the Jones/Tintoretto Entertainment Company LLC). In 2016 it was
purchased at auction by a private collector and donated to the
Rubens House in Antwerp, where it is on long-term loan. This book
accompanies the display of the painting, back in Venice for the
first time in 200 years as part of an exhibition at Palazzo Ducale.
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