Note: Use your browsers "back" button to return to your previous search.
Item Number: 148448
Title: Art as worldmaking : Critical essays on realism and naturalism
Author: Baker, Malcolm ; Andrew Hemingway (eds)
Record created on 03/21/18
Description: Manchester: Manchester University Press, 2018. 25cm., hardcover, 416pp. illus.
Summary: Art as worldmaking is a response to Alex Potts's provocative 2013 book Experiments in modern realism. Twenty essays by leading scholars test Potts's recasting of realism through examinations of art produced in different media and periods, ranging from eighth-century Chinese garden aesthetics to video work by the contemporary Russian collective Radek Community. While the book does not neglect avatars of pictorial realism such as Menzel and Eakins, or the question of nineteenth-century realism's historical antecedents, it is contemporary in orientation in that many contributors are particularly concerned with the questions that sculpture, photography and non-traditional media pose for realism as an aesthetic norm. It will be essential reading for students of art history concerned with art's truth value or more broadly with conceptual problems of representation and the intersections of art and politics.
Contents: 1. The transactions of detail, Briony Fer. 2. Realism's credibility problem, Joshua Shannon. 3. Attending to the veristic sculptural portrait in the eighteenth century, Malcolm Baker . 4. Elasticity and sculptural form, Caroline Arscott. 5. A portrait of the artist as a dead man, Jon Wood. 6. Death Metal, Anne M. Wagner. 7. Recurrent dialogues in the history of Chinese and English garden design, Martin J. Powers. 8. Traditional views, conservative anti-naturalism and landscape aesthetics in France around 1900, Neil McWilliam. 9. Willem Kalf on Reflexykonst, the aesthetics of transformation in still life, Celeste Brusati. 10. Democratic light, phenomenology and the worldliness of painting, Brendan Prendeville. 11. Body and soul in the work of Thomas Eakins and F. Holland Day, Rebecca Zurier . 12. From Menzel to Burtynsky, episodes from an imagery of capitalism, T. J. Clark. 13. Constance Stuart's war, women and documentary's excess, Tamar Garb . 14. Antonioni's Blow-up (1966), photography and film, Lisa Tickner. 15. 'Dirty realism', documentary photography in 1970s Britain, a maquette, Steve Edwards. 16. The roots of Mike Kelley's Realism, subterranean homesick blues, Thomas Crow. 17. The moment of guerrilla art, Alistair Rider. 18. Every day, something happens to us, realism at the crossroads, Gail Day.
Item Number: 148851
Title: Making Copies in European Art 1400-1600 : Shifting Tastes, Modes of Transmission, and Changing Contexts
Author: Bellavitis, Maddalena (ed)
Record created on 05/02/18
Description: Leiden: Brill, 2018. 24cm., hardcover, 542pp., 157 color illus.
Contents: Introduction to Making Copies in European Art 1400-1600- Shifting Tastes, Modes of Transmission, and Changing Contexts, Peter M. Lukehart. 1. Jan van Eyck's Arnolfini Portrait and Copies after His Woman and Her Toilette- Recollections of the Alhambra's Constellation Halls, the Hamman, and Alchemy, Barbara von Barghahn. 2. Models and the Practice of Drawing in Eastern Spain, 1370-1450, E. Montero Tortajada. 3. Eyckian Icons and Copies, Larry Silver. 4. Copies after the Ghent Altarpiece for Spain- Four Case Studies, Leslie Blacksberg. 5. Following Bosch- The Impact of Hieronymus Bosch's Diableries and Their Reproduction in the 16th Century, Maddalena Bellavitis. 6. Tratta da Zorzi- Giulio Campagnola's Copies after other Artists and His Use of Models, Irene Brooke. 7. Virgin and Child with the Milk Soup after Gerard David- Series of Paintings on the Same Theme after Known Models, Catheline Périer-D'Ieteren. 8. Not Just Copies but Variations, Suggestions, Interpretations and Critical Reception- Joos van Cleve and the Lost Madonna of the Cherries by Leonardo da Vinci, Mari Pietrogiovanna. 9. Copies and Derivations of Giorgionesque Inventions- An Insight into the Visual and the Historical Sources, Sarah Ferrari. 10. Copies of Raphael's Mythological Paintings in the Collection of Cardinal Ludovisi, Claudia La Malfa. 11. From Workshop Master to the Artist's Individuality, Ana Calvo. 12. Jacopo Bassano and the Prints from Raphael's Masterpieces, Claudia Caramanna. 13. Que se haga al modo y manera de [….]- Copy and Interpretation in the Visual Arts in Aragón during the 16th Century, Carmen Morte García. 14. Early Netherlandish Devotional Images, Their Copies and Their Metamorphosis in Aragonese Culture through Peripheral Areas, Caterina Virdis Limentani. 15. Marketing Workshop Versions in the 17th-century Dutch Art Market, Angela Ho. 16. Pictorial Copies in Granada during the Early Modern Age, David García Cueto.
(Brill's Studies on Art, Art History, and Intellectual History, 286/30)
Item Number: 148407
Title: GIOVANNI BELLINI's Painting Technique (National Gallery Technical Bulletin, Volume 39)
Author: Dunkerton, Jill (et al)
Record created on 03/19/18
Description: London: National Gallery, 2018. 30cm., pbk., 136pp., 180 illus., most in color.
Summary: Giovanni Bellini (c. 1430–1516) was one of the most innovative and influential painters of the Venetian Renaissance and was among the first Italian artists to paint in oil, rather than the more traditional medium of egg tempera. This special edition of the National GalleryTechnical Bulletin offers a revelatory in-depth investigation of Bellini’s technique, and how it evolved over more than five decades, through an examination of the artist’s works in the National Gallery’s collection. With twelve focused entries on specific paintings, including masterpieces such as The Agony in the Garden and Doge Leonardo Loredan, this volume is full of new and exciting discoveries that expand our understanding of Bellini’s painting practice. In addition, there is an account of the long and challenging restoration of The Assassination of Saint Peter Martyr and an introductory essay that places Bellini’s technical achievements in the context of Venetian painting of the 15th century, including his early training with his father, Jacopo; his working relationship with his brother, Gentile, and brother-in-law, Andrea Mantegna; and the practices of Giovanni’s own workshop.
Item Number: 148954
Title: Utrecht, CARAVAGGGIO, and Europe
Author: Ebert, Bernd ; Liesbeth M. Helmus (eds)
Record created on 05/21/18
Description: Munich: Hirmer, 2018. 28cm., hardcover, 304pp., 270 color illus. Exhibition held at Centraal Museum, Utrecht (then to Alte Pinakothek, Munich). English edition.
Summary: At the start of the Dutch Golden Age, Rome was the centre of the world. Young painters from across Europe made their way to the Eternal City, where - so the rumour went - the painter Caravaggio had caused a revolution. A new realism in the art of painting, unparalleled drama, grand gestures and mysteries of light: everyone wanted to see it for themselves. Among them were the Utrecht painters Dirck van Baburen, Hendrick ter Brugghen and Gerard van Honthorst. During the heyday of European Caravaggism, between 1600-1630, some 2700 artists were listed in Rome, of which 572 were foreigners. They all visited the same churches and viewed the same collections. They conversed with each other, and of course they painted! And they painted the same themes, used the same sources of inspiration, but the works they produced were nonetheless very different. Utrecht, Caravaggio and Europe examines precisely these differences between the European followers of Caravaggio. By presenting the works on the basis of themes, it is immediately evident how each artist remained rooted in his own cultural background. Utrecht, Caravaggio and Europe brings the Rome of 1600 to 1630 to Utrecht. Presenting seventy masterpieces, this exhibition is the first to display the Utrecht Caravaggists alongside their European counterparts: the Italian painters Caravaggio, Bartolomeo Manfredi, Cecco da Caravaggio, Giovanni Antonio Galli (Lo Spadarino), Giovanni Serodine, Orazio Borgianni and Orazio Gentileschi, the Spaniard Jusepe de Ribera, the French Nicolas Régnier, Nicolas Tournier, Simon Vouet and Valentin de Boulogne, and the Flemish Gerard Seghers and Theodoor Rombouts. The exhibition comprises over sixty loan pieces, from museum and private collections across Europe and the United States, including the Vatican Museums, the Louvre (Paris), the Galleria degli Uffizi (Florence), the National Gallery of Art of London and the National Gallery of Art of Washington DC, but also from churches in Rome. The paintings by the Utrecht Caravaggists are so recognisably Dutch, because they took Caravaggio's realism one step further. Baburen and Ter Brugghen also painted the ugly sides of reality: monstrous noses, rotten teeth, dirty fingernails. Ter Brugghen even has the questionable honour of having painted the ugliest but also the most realistic baby in seventeenth century art. Gerard van Honthorst was very successful in Rome. Honthorst's invention of illuminating his scenes from a hidden, indirect source of light became so famous that he was nicknamed 'Gherardo delle Notti': Gerard of the Nights. Just like Dirck van Baburen, he received important commissions for altar pieces, and works by both artists were purchased by important collectors such as Cardinal Giustiniani, who was also a patron of Caravaggio. Their paintings were hung in the halls of his palazzo, next to those of the Italian, Flemish, French and Spanish painters. The exhibitions follows the three Utrecht artists on their Roman adventure, demonstrates how this affected their work, and displays their most accomplished pieces.
Contents: B. Ebert / L. Helmus, Utrecht, Caravaggio and Europe || M.J. Bok, Utrecht, a Libertine City || H. Langdon, Rome 1600-1630 || L. Helmus, The Utrecht Caravaggisti - Imitation and Improvement || B. Ebert / S. Hoppe, The Utrecht Caravaggisti in th Interplay between Clients, the Art Market and Collectors || A. Roy, The Utrecht Painters - Caravaggism, Technique and Expression || Catalogue.
Item Number: 148716
Title: Color and Light : The Neo-Impressionist HENRI-EDMOND CROSS
Author: Frank, Frederic (et al)
Record created on 04/18/18
Description: Munich-New York: Prestel, 2018. 30cm., hardcover, 248pp., 200 color illus. Exhibition to be held at Museum Barberini, Potsdam. English text.
Summary: Inspired by the work of Realist painters such as Gustave Courbet and Francois Bonvin, Henri-Edmond Cross’s earliest paintings were compositions in dark, somber colors. Following his involvement with the avant-gardist circle around Georges Seurat, he gradually adopted the Neo-Impressionist technique and began to develop a unique visual vocabulary. After his move to the Mediterranean coast in 1891, Cross’s palette became increasingly lighter, resulting in dazzlingly colorful landscapes, genre paintings, and compositions that are overlaid with mythological and allegorical allusions. This volume traces Cross’s artistic trajectory through all stages of his prolific career and situates his masterful approach to color and light within the broader context of the European avant-garde of his time. In addition, it examines the painter’s anarchist sympathies and the political dimensions of his depictions of utopian sceneries.
Item Number: 148752
Title: Restoration: The Fall of Napoleon in the Course of European Art, 1812-1820
Author: Crow, Thomas
Record created on 04/24/18
Description: Princeton: Princeton University Press, 2018. 27cm., hardcover, 208pp., 160 color illus.
Summary: As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal and significant artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all became linked in a new international network in which changing artistic priorities and possibilities emerged from the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant individuals into fresh artistic works. Crow discusses, among many topics, David’s art and pedagogy during exile, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.
(The A. W. Mellon Lectures in the Fine Arts, 62)
Item Number: 148339
Title: Renaissance Prague
Author: Fucikova, Eliska ; Derek Paton (trans)
Record created on 03/15/18
Description: Prague: Karolinum Press, 2018. 27cm., pbk., 184pp., 129 color plates.
Summary: At the end of the fifteenth century, when the Jagiellons and first Habsburg rulers sat on Prague’s throne, the character of the city’s municipalities began to transition from medieval to Renaissance. In Renaissance Prague, historian Eliska Fucíkova paints a vivid picture of the Bohemian capital during this time of sweeping change. As Fucíková reveals, this period saw the evolution of new architectural motifs across the city. In particular, there was a distinct transformation of Prague Castle, including the construction of well-known features such as the Ball Game Hall and Queen Anne’s Summer Palace. Featuring a concise historical overview and a guide to prominent figures of the time, as well as a variety of illustrations—from artwork to archival images, contemporary photographs, and maps—Fucikova’s book is a beautiful, enlightening tour through the Renaissance metropolis of the Bohemian Kingdom.
Item Number: 148115
Title: HENRY FUSELI : Drama and Theatre
Author: Reifert, Eva ; Bodo Brinkmann
Record created on 02/14/18
Description: Munich-New York: Prestel, 2018. 28cm., hardcover, 240pp., 160 color illus. Exhibition held at Kunstmuseum Basel. English edition.
Summary: Thirteen years after the last major presentation of his work in Switzerland, at the Kunsthaus Zürich, the Kunstmuseum Basel mounts a comprehensive monographic exhibition of the work of Henry Fuseli, a native son of Zurich who rose to fame in Rome and London. One of the most inventive and unconventional innovators in late-eighteenth-century art, Fuseli stood on the threshold between classicism and nascent Romanticism. His oeuvre bears eloquent witness to the competing artistic paradigms in the waning decades of the Age of Enlightenment. Fuseli styled himself as a painter of Dark Romanticism and «Gothic horror», and that aspect of his oeuvre is still most familiar to audiences today. Shifting the focus, the exhibition demonstrates that drama and theater were no less vital to his artistic vision: the erudite artist’s creations almost invariably draw on literary motifs, quoting ancient mythology, John Milton’s Paradise Lost, or the recently rediscovered Nibelungen saga. After his return from Rome to London in 1779, Shakespeare’s plays become another major source of motifs in his art, as his contributions to John Boydell’s Shakespeare Gallery illustrate. Drama and Theater—the title captures the interest in the themes from literary and stage works chosen by Fuseli that animates the exhibition, but it also describes his dynamic compositions and constellations of characters and the «theatrical» devices that often enliven his depictions. Like Fuseli’s art itself, Drama and Theater is hardly subtle. The artist’s seven paintings in the Öffentliche Kunstsammlung Basel, the municipal art collection of Basel, are complemented by works generously provided on loan by the Kunsthaus Zürich and other international museums and private collections. Reflecting on the conjunction of literature, theater, and visual art from another angle, Thom Luz, director at the Basler Schauspielhaus, will enhance the exhibition by bringing his contemporary theatrical practice into the gallery.
Item Number: 148542
Title: Itch, Clap, Pox : Venereal Disease in the Eighteenth-Century Imagination
Author: Gallagher, Noelle Dückmann
Record created on 03/29/18
Description: New Haven: Yale University Press, 2019. 24cm., hardcover, 288pp., 40 illus.
Summary: In eighteenth-century Britain, venereal disease was everywhere and nowhere: while physicians and commentators believed the condition to be widespread, it remained shrouded in secrecy, and was often represented using slang, symbolism, and wordplay. In this book, literary critic Noelle Gallagher explores the cultural significance of the “clap” (gonorrhea), the “pox” (syphilis), and the “itch” (genital scabies) for the development of eighteenth-century British literature and art. As a condition both represented through metaphors and used as a metaphor, venereal disease provided a vehicle for the discussion of cultural anxieties about gender, race, commerce, and immigration. Gallagher highlights four key concepts associated with the disease, demonstrating how the infection’s symbolic potency was enhanced by its links to elite masculinity, prostitution, foreignness, and nasal deformity. Casting light where the sun rarely shines, this study will fascinate anyone interested in the history of literature, art, medicine, and sexuality.
Item Number: 149640
Title: Dessiner une renaissance : Dessins italiens de Besancon (XVe - XVIe siecles)
Author: Gasnualt, Helene (ed) ; Nicolas Surlapierre ; Catherine Monbeig Goguel (intro)
Record created on 10/18/18
Description: Milano: Silvana, 2018. 29cm., pbk., 264pp., 250 color illus.
Summary: À l'occasion de sa réouverture, le musée des beauxarts et d'archéologie de Besançon met à l'honneur son prestigieux cabinet d'arts graphiques. Au sein de cette collection, les dessins italiens forment un ensemble remarquable et cette exposition permet de présenter pour la première fois une sélection des plus belles feuilles de la Renaissance conservées au musée et de mener une étude renouvelée sur ce fonds. De la Florence des Médicis avec Bronzino à la Rome de la Contre-Réforme représentée par Annibale Carracci en passant par Mantoue (Giulio Romano), Parme (Parmigianino) et Venise (Tintoretto), cette manifestation invite le visiteur et le lecteur à un voyage de plus d'un siècle à travers la péninsule. À travers ces recherches et cette présentation, il s'agit de dessiner la renaissance d'une collection peu connue du public, mais aussi d'esquisser la Renaissance qui apparaît à travers les choix de Jean Gigoux qui a légué en 1894 au musée de Besançon près de trois mille dessins, parmi lesquels la grande majorité des feuilles italiennes.
Item Number: 149768
Title: DUANE HANSON : More than reality
Author: Buchsteiner, Thomas ; Otto Letze (eds)
Price: $41.99 Original Price: $85.00
Record created on 01/13/19
Description: Stuttgart: Hatje Cantz, 2001. 30cm., hardcover, 192pp., 219 images. English text. Exhibition catalogue.
Item Number: 148736
Title: Scotch Baronial : Architecture and National Identity in Scotland
Author: Glendinning, Miles ; Aonghus MacKechnie
Record created on 04/23/18
Description: London: Bloomsbury, 2019. 24cm., hardcover, 297pp., 90 b&w illus.
Summary: As the debate about Scottish independence rages on, this book takes a timely look at how Scotland's politics have been expressed in its architecture. It is an aspect of Scottish history that has hitherto been little discussed, and yet the architecture of Scotland – in particular the Scotch Baronial style – has been of great consequence to the ongoing narrative of Scottish national identity. This book fills that gap in scholarship through a politically-framed examination of Scotland's architecture, tracing how it was used to serve successive political agendas within Scotland during the three 'unionist centuries' from the early 17th to the early 20th century. It is a history which encompasses all the principal public architectural works of secular Scottish architecture of the period, from the palaces left behind by the 'lost' monarchy to revivalist castles and the proud town halls of the Victorian age, tracing their wildly fluctuating political and national connotations. It is also a story which reaches beyond Scotland and into a wider, international picture: the Scotch Baronial was the world's first self-consciously nationalist architecture – the harbinger of an international movement of 'national' styles, rejecting classical antiquity for local medieval inspiration. The book ends by bringing the story into the 21st century, relating the paradox of contemporary 'neo-modernist' architecture in today's Scotland, as exemplified in the Holyrood parliament, with the paradoxes embodied in 300 years of the Scotch Baronial style.
Contents: Chapter 1: 1603-1660: Empty royal palaces and castellated court architecture. Chapter 2: 1660-1689: From restitution to rejection of the old order. Chapter 3: 1689-1750: The architecture of dynastic struggle. Chapter 4: 1750-1790: Enlightenment and Romanticism. Chapter 5: 1790-1820: Scotland and England in the Age of Revolutionary War. Chapter 6: 1820-40: Scott, Abbotsford and 'Scotch' Romanticism . Chapter 7: 1840-70: Billings and Bryce: mid-century Baronial . Chapter 8: 1870-1900: Traditionalism. Chapter 9: External reflections: 'national' Scottish architecture and the empire. Chapter 10: 1914 onwards: Scottish architectural identity in the age of Modernism. Conclusion: The architecture of Unionist Nationalism - and its international significance.
Item Number: 149739
Title: The Theory and Craft of Digital Preservation
Author: Owens, Trevor
Record created on 12/06/18
Description: Baltimore: Johns Hopkins University Press, 2018. 24cm., pbk., 240pp., 4 illus.
Summary: Many people believe that what is on the Internet will be around forever. At the same time, warnings of an impending "digital dark age"—where records of the recent past become completely lost or inaccessible—appear with regular frequency in the popular press. It's as if we need a system to safeguard our digital records for future scholars and researchers. Digital preservation experts, however, suggest that this is an illusory dream not worth chasing. Ensuring long-term access to digital information is not that straightforward; it is a complex issue with a significant ethical dimension. It is a vocation.
In The Theory and Craft of Digital Preservation, librarian Trevor Owens establishes a baseline for practice in this field. In the first section of the book, Owens synthesizes work on the history of preservation in a range of areas (archives, manuscripts, recorded sound, etc.) and sets that history in dialogue with work in new media studies, platform studies, and media archeology. In later chapters, Owens builds from this theoretical framework and maps out a more deliberate and intentional approach to digital preservation.
A basic introduction to the issues and practices of digital preservation, the book is anchored in an understanding of the traditions of preservation and the nature of digital objects and media. Based on extensive reading, research, and writing on digital preservation, Owens's work will prove an invaluable reference for archivists, librarians, and museum professionals, as well as scholars and researchers in the digital humanities.
Item Number: 149503
Title: The Oxford Handbook of Early Christian Archaeology
Author: Pettegrew, David K. ; William R. Caraher ; Thomas W. Davis (eds)
Record created on 09/10/18
Description: Oxford: Oxford University Press, 2019. 25cm., hardcover, 728pp., 250 illus.
Contents: 1. The Archaeology of Early Christianity: The History, Methods, and State of a Field, William R. Caraher and David K. Pettegrew. 2. Archaeology of the Gospels, James F. Strange. 3. New Testament Archaeology beyond the Gospels, Thomas W. Davis. 4. The Catacombs, Vincenzo Fiocchi Nicolai. 5. Martyria, David L. Eastman. 6. Burials and Human Remains in Early Christian Context, Sherry C. Fox and Paraskevi Tritsaroli. 7. Churches, Charles Stewart. 8. The Archaeology of Early Monastic Communities, Darlene L. Brooks Hedstrom. 9. Baptisteries in Ancient Sites and Rites, H. Richard Rutherford. 10. Baths, Christianity, and Bathing Culture in Late Antiquity, Dallas DeForest. 11. The Art of the Catacombs, Fabrizio Bisconti. 12. Visual Rhetoric of Early Christian Reliquaries, Galit Noga-Banai. 13. An Anarchéologie of Icons, Gleen Peers. 14. Spolia, its Viewers, and the 'Victory of Christianity', Jon Michael Frey. 15. Early Christian Mosaics in Context, Karen C. Britt. 16. Pottery, R. Scott Moore. 17. Lamps, Maria Parani. 18. Statues, Troels Myrup Kristensen. 19. Amulets and the Ritual Efficacy of Christian Symbols, Rangar H. Cline. 20. Christian Archaeology in Palestine: the Roman and Byzantine Periods, Joan E. Taylor. 21. Jordan, Robert Schick. 22. Syria, Emma Loosley. 23. The Church of the East until the 8th century, Stefan R. Hauser. 24. Armenia, Christina Maranci. 25. The Holy Island: An Archaeology of Early Christian Cyprus, Jody Michael Gordon and William R. Caraher. 26. Asia Minor, Peter Talloen. 27. Community, Church and Conversion in the prefecture of Illyricum and the Cyclades, Rebecca Sweetman. 28. The Early Christian Archaeology of the Balkans, William Bowden. 29. The Archaeology of Early Italian Churches in Context, AD 313-569, Alexandra Chavarría. 30. The Christianization of Gaul: Buildings and Territories, Bastien Lefebvre. 31. Britain and Ireland, AD 100-700, David Petts. 32. Constructing Christian Landscapes in the Iberian Peninsula: The Archaeological Evidence (4th-6th centuries), Alexandra Chavarría. 33. Incorporating Christian communities in North Africa. Churches as bodies of communal history, Susan T. Stevens. 34. Archaeology of Early Christianity in Egypt, Darlene L. Brooks Hedstrom.
Item Number: 149751
Title: Studien zur Antikenrezeption im Werk ANDREA RICCIOS
Author: Grein, Kerstin
Record created on 12/14/18
Description: Münster: Rhema, 2018. 25cm., hardcover, 260pp. text, 140pp. illus.
Summary: Der Bronze- und Terrakottabildner Andrea Riccio (1470–1532) zählte im ersten Drittel des 16.~Jahrhunderts zu den bedeutendsten norditalienischen Künstlern. Er arbeitete vorrangig für eine humanistisch gebildete, in Padua, Venedig und Verona ansässige Klientel. Im Auftrag dieser Gelehrten schuf er Reliefs, zum Beispiel für Grabmäler und Altäre, sowie Kleinbronzen. Die vorliegende Studie behandelt die Antikenrezeption in Riccios Oeuvre. Unter Berücksichtigung des humanistischen Umfeldes, in dem der Künstler lebte und wirkte, werden seine Werke und die antiken und zeitgenössischen Vorlagen untersucht.
Contents: 1. Einführung. 1.1 Fortuna critica: Riccio im Spiegel der kunsthistorischen Forschung. 1.1.1 Die Anfänge der Riccio-Rezeption: Die paduanischen Guiden. 1.1.2 Die moderne Kunstgeschichtsforschung. 184.108.40.206 Die Statuetten und Gebrauchsgeräte. 220.127.116.11 Die Plaketten und Medaillen. 18.104.22.168 Die Bronzereliefs und Terracottafiguren. 22.214.171.124 Forschung zur Antikenrezeption im Werk Riccios. 1.1.3 Neuere Forschung zum Werk Riccios. 1.2 Riccio im Spiegel zeitgenössischer Dokumente. 1.2.1 Leben und Werk nach Dokumenten. 1.2.2 Das Grabmal des Künstlers und seine Testamente. 2. Die Werke Andrea Riccios in chronologischer Folge.
. 2.1 Das Grabmal für Pietro Roccabonella in San Francesco Grande in Padua. 2.1.1 Rekonstruktion und Quellenlage. 2.1.2 Werk zweier Künstler: Riccio und Bellano. 2.2 Die Reliefs mit Darstellungen der Kreuzlegende und die sogenannte Tabernakeltür, ehem. Santa Maria dei Servi in Venedig. 2.2.1 Der Auftraggeber. 2.2.2 Die Reliefs mit Darstellungen der Kreuzauffindungslegende. 126.96.36.199 Der Traum Konstantins. 188.8.131.52 Der Sieg Konstantins an der Milvischen Brücke. 184.108.40.206 Die Auffindung des hl. Kreuzes. 220.127.116.11 Die Prüfung des wahrhaftigen Kreuzes. 2.2.3 Die Tabernakeltür. 2.2.4 Zusammenfassung. 2.3 Die Chorschrankenreliefs in der Basilica del Santo in Padua. 2.3.1 Die Geschichte Judiths. 2.3.2 Der Einzug Davids mit der Bundeslade. 2.3.3 Zusammenfassung. 2.4 Der Osterleuchter in der Basilica del Santo in Padua. 2.4.1 Quellenlage und Auftraggeber. 2.4.2 Die Form des Leuchters. 2.4.3 Der Marmorsockel. 2.4.4 Die Meerwesenreliefs. 2.4.5 Die christologischen Szenen. 2.4.6 Die Kardinaltugenden. 2.4.7 Die allegorischen Szenen über den Kardinaltugenden. 2.4.8 Die oberen Register. 2.4.9 Zusammenfassung. 2.5 Der Moses-Brunnen in Santa Giustina in Padua. 2.6 Die Mantelspende des hl. Martin, ehem. Santa Maria dei Servi in Venedig. 2.7 Das Grabmal Della Torre in San Fermo Maggiore zu Verona. 2.7.1 Die Cappella Della Torre. 2.7.2 Architektur und Ornament. 2.7.3 Das Bildprogramm. 18.104.22.168 Der dozierende Gelehrte. 22.214.171.124 Der Tod des Gelehrten. 126.96.36.199 Die Totenklage. 188.8.131.52 Die Bestattung. 184.108.40.206 Das Opfer an Aeskulap. 220.127.116.11 Die Unterwelt. 18.104.22.168 Das Elysium. 22.214.171.124 Fama. 2.7.4 Die Auftraggeber. 2.8 Der Maffei-Altar in Sant'Eufemia in Verona und die Grablegung Christi in der National Gallery of Art in Washington, D.C. 2.8.1 Der Abstieg Christi in die Vorhölle in Paris. 2.8.2 Die Auferstehung Christi in Paris. 2.8.3 Die Grablegung Christi in Washington. 2.9 Das Epitaph für Antonio Trombetta in der Basilica del Santo in Padua. 2.10 Die Statuetten und Gebrauchsgeräte. 2.10.1 Die Statuetten - Werke. 126.96.36.199 Die funktionalen Kleinbronzen. 188.8.131.52 Die unabhängigen Statuetten. 184.108.40.206.1 Die Satyrstatuetten. 2.10.2 Zusammenfassung. 2.11 Die Terracotten. 2.11.1 Die drei Heiligenfiguren in San Canziano in Padua. 220.127.116.11 Der sogenannte hl. Cantian. 18.104.22.168 Die sogenannte hl. Cantianilla. 22.214.171.124 Der hl. Hieronymus. 126.96.36.199 Der ursprüngliche Aufstellungszusammenhang. 2.11.2 Die Beweinungsgruppe, ehem. San Canziano in Padua. 2.11.3 Die Madonna in der Scuola del Santo in Padua. 2.11.4 Die Madonna im J. Paul Getty Museum in Los Angeles, Kalifornien. 2.11.5 Die Büsten eines Imperators und der Pomona in Privatbesitz. 2.11.6 Zusammenfassung.
. 3. Zusammenfassung: Das künstlerische Profil. 3.1 Antikenrezeption und stilistische Entwicklung. 3.1.1 Das Frühwerk. 3.1.2 Die stilistische Entwicklung ab 1500. 3.2 Der Einfluss der Auftraggeber - Kunst und Humanismus in Padua um 1500.
(Symbolische Kommunikation und gesellschaftliche Wertesysteme – Schriftenreihe des Sonderforschungsbereichs 496, Vol. 50)
Item Number: 148672
Title: SALVATOR ROSA, Friendship and the Free Artist in Seventeenth-Century Italy
Author: Hoare, Alex
Record created on 04/13/18
Description: Turnhout: Harvey Miller, 2018. 28cm., hardcover, 521pp., 157 color, 78 b&w illus.
Summary: This book examines the Neapolitan painter and satirist Salvator Rosa (1615-1673) from a new perspective. Preoccupied with a performative brand of self-manufacture that is everywhere apparent in his work as an artist, satirist and actor, Rosa was a key protagonist in a period of significant social change. This book examines the Neapolitan painter and satirist Salvator Rosa (1615-1673) from a new perspective. Preoccupied with a performative brand of self-manufacture that is everywhere apparent in his work as an artist, satirist and actor, Rosa was a key protagonist in a period of significant social change. A precursor of the modern independent artist, Rosa was also among the first of his generation to actively seek and in many ways achieve the kind of professional autonomy his predecessors desired and his successors fully accomplished. The author argues that the social bond of friendship—its rituals and discourses—was vital to both Rosa’s self-conception and his achievements. Five chapters explore this phenomenon in connection with various contexts central to Rosa’s professional practice and identity: theatrical performance; the academy; the practices of conversation, letter writing and poetry; the ritual of gift-giving and the cultivation of the topos of “the friend as a second self,” here considered in relation to a portrait painted for a friend; and the art market. The book also responds to and outlines for the reader the current state of scholarship on Rosa, a field of study that has gained significant momentum in the last decade and to which the book itself seeks to make a meaningful contribution.
(Studies in Baroque Art, 9)
Item Number: 149427
Title: EGON SCHIELE : The Making of a Collection
Author: Rollig, Stella ; Kerstin Jesse (eds)
Record created on 08/16/18
Description: Munich: Hirmer, 2018. 29cm., hardcover, 304pp., 352 color illus. Exhibition held at Lower Belvedere, Vienna. English edition.
Summary: 2018 marks the centenary of Egon Schiele’s death. To coincide with this occasion the publication will present the painting collection of the Belvedere Vienna including highlights such as Eduard Kosmack, House Wall, Death and Girl, The Embrace and Four Trees. The book provides an opportunity to study the artist’s work processes in greater detail and to follow the fascinating routes taken by his works before reaching the museum. In 1918 the Österreichische Galerie under Director Franz M. Haberditzl was the first Austrian museum to acquire an oil painting by Schiele during his lifetime. Today the museum owns one of the top collections of paintings from the years 1907–1918 by the artist. The publication will examine each work separately and will answer questions with regard to their acquisition and subject as well as related works. At the same time, the results of the investigations into painting technique which the works have undergone since 2016 will be presented for the first time. Complementary essays explain the history of the collection and the changes to the stocks of Schiele’s works which are taking place as a result of museum reforms, the exchange of pictures or the restitution of individual works.
Item Number: 149323
Title: What's Next? Eco Materialism and Contemporary Art
Author: Weintraub, Linda
Record created on 07/19/18
Description: Bristol: Intellect Ltd, 2018. 23cm., pbk., 256pp., 100 illus.
Summary: By paying tribute to matter, materiality, and materialization, the examples of contemporary art assembled in What’s Next? Eco Materialism and Contemporary Art challenge the social, cultural, and ethical norms that prevailed in the twentieth century. This significant frontier of contemporary culture is identified as ‘Eco Materialism’ because it affirms the emergent philosophy of Neo Materialism and attends to the pragmatic urgency of environmentalism. In this highly original book, Linda Weintraub surveys the work of forty international artists who present materiality as a strategy to convert society’s environmental neglect into responsible stewardship. These bold art initiatives, enriched by their associations with philosophy, ecology, and cultural critique, bear the hallmark of a significant new art movement. This accessible text, augmented with visuals, charts, and questionnaires, invites students and a wider readership to engage in this timely arena of contemporary art.
Advanced Search |
View Cart |
Join Our Mail List |
© Copyright 1996-2019 Michael Shamansky, Bookseller Inc.
Design & Hosting by Ives & Shaughnessy Web Information Services
Our current titles as of January 22, 2019.