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Palladio (1508-80) combined classical restraint with constant inventiveness to produce one of the most beautiful, and easily the most influential, series of buildings in the history of art.
In this brilliantly incisive study, Professor Ackerman sets Palladio in the context of his age - the great Humanist era of Michelangelo and Raphael, Titian and Veronese - examines each of the wonderful villas, churches and palaces in turn, and tries to penetrate to the heart of the Palladian miracle. Palladio's theoretical writings are important and illuminating, he suggests, yet they can never do justice to the intense intuitive skills of 'a magician of light and colour'. Indeed, as the fine photographs in this book reveal, Palladio was 'as sensual, as skilled in visual alchemy as any Venetian painter of his time', and his countless imitators have usually captured the details, but not the essence, of his supreme style. There are buildings all the way from Philadelphia to St. Petersburg which bear witness to Palladio's 'permanent place in the making of architecture', yet he richly deserves also to be seen on his own terms; this masterly introduction to a master architect does just that.
Joseph Hillaire (Lummi, 1894-1967) is recognized as one of the
great Coast Salish artists, carvers, and tradition-bearers of the
twentieth century. In "A Totem Pole History," his daughter Pauline
Hillaire, Scalla-Of the Killer Whale (b. 1929), who is herself a
well-known cultural historian and conservator, tells the story of
her father's life and the traditional and contemporary Lummi
narratives that influenced his work.
"A Totem Pole History" contains seventy-six photographs,
including Joe's most significant totem poles, many of which Pauline
watched him carve. She conveys with great insight the stories,
teachings, and history expressed by her father's totem poles. Eight
contributors provide essays on Coast Salish art and carving, adding
to the author's portrayal of Joe's philosophy of art in Salish
life, particularly in the context of twentieth century
This engaging volume provides an historical record to encourage
Native artists and brings the work of a respected Salish carver to
the attention of a broader audience.
Rembrandt Harmenszoon van Rijn was the leading painter and graphic artist of the `Golden Age of Dutch Art'. He excelled in imbuing his art with the `deepest and most lifelike emotion', with rich detail and stunning lighting. This richly enjoyable book gives the reader an illuminating overview of the life, work and influences of the artist, before going on to showcase the most stunning and varied examples of his oeuvre, broken down into themes - Portraits, Landscape & Narrative, Self-portraits, and Etchings & Drawings. Discover his versatility in the range of works selected, from the electric The Storm on the Sea of Galilee to the treasured The Night Watch, with its triumph in chiaroscuro and energy. A visual feast, it will underline the artist's status as a true master.
Jean McEwen (19231999) was a Canadian painter who was known for his abstract, colourful paintings. "De ma main a la couleur (Hand to Colour)" is a series of 16 watercolour paintings accompanied by handwritten poetry by McEwen. The book will include an essay by art historian and writer Laurier Lacroix, and an additional text by McEwen s widowed wife Indra McEwen. It is also published to coincide with 50 limited edition box sets that are stamped and authenticated by McEwen s estate. The watercolour series is a collection of love letters addressed to colour, produced near the end of McEwen s life. Poetry was another form of artistic expression for McEwen, with renowned poets Baudelaire and Valery among his revered idols. The works included in De ma main a la couleur act as precursors to his oil painting series Poemes barbares (Barbaric Poems), painted during the last year of his life and now represented in the collections of the Montreal Museum of Fine Arts and the National Gallery of Canada. The watercolours of De ma main a la couleur were donated to the Montreal Museum of Fine Arts by Indra McEwen, and were exhibited in 2005.McEwen s watercolours and poetry are not as well known and represented in public collections as his oil paintings but they were constant in his art practice throughout his life. De ma main a la couleur aims to fulfill McEwen s desire to have these luminous, colourful works reach a wider public audience."
This book was started as a memoir of my mother and subsequently developed into something more like a diary, covering my recollections of a postwar childhood in Worcestershire, an art-school education and subsequent obsessions. It may be read in the light, or perhaps one should say in the shadow, of its political history. So begins an irresistible sequence of reflections by Tess Jaray ra. Whether providing insights into the mind of an artist, or recounting the eccentricities of her singular childhood, The Blue Cupboard is a consistently characterful, humorous and life-affirming piece of writing. Jaray is a painter and printmaker whose work is characterised by the enigmatic interaction of forms and colours. In 2010 she published a book of her collected writings, Painting: Mysteries and Confessions (RA publications). She has also created imagery to accompany the work of W. G. Sebald. She has artworks in many public collections, including the Tate and the British Museum, and her paving designs can be seen in Centenary Square, Birmingham, St Marys Church, Nottingham, and the forecourt of Victoria Station.
A reevaluation of Matisse that reveals the complex function of his work and thought in contemporary art's escape from the image, from traditional forms of art, and even from the art form itself. Accused by his contemporaries of both arid overtheorisation and a hedonistic abandon to the pleasures of color, decried for a preoccupation with the merely decorative, retrospectively consigned to a subsidiary role in an official History of Art that sees the liberation of color from iconic conventions and symbolic associations as the inevitable precursor to the purified color of modernist formalis, Matisse, with his untimely singularity, his break with the History of Art, and the part he played in undoing the image is ripe for the reevaluation undertaken here with great panache by Eric Alliez and Jean-Claude Bonne, who with this volume restore Matisse to his place within the prehistory of contemporary art, while continuing to transform our understanding of the latter. It was Matisse who, with his understanding of the construction of colours as a means of vital expression, continued to exacerbate the fauves' decisive break with Form; in doing so, he also opened up painting to its outside, by cutting out color, and releasing it onto the walls and into architecture by way of a decorativity virtually generalized to the whole environment. With a series of detailed and compelling extended analyses of Matisse's works, we learn how "Matisse-thought" arrived at the magic formula expression=construction=decoration. This volume, the second "case study" in Alliez and Bonne's Undoing the Image, gives us a new Matisse extracted from cliches and stereotypes both popular and learned, revealing the complex function of his work and thought in contemporary art's escape from the image, from traditional forms of art, and even from the art form itself.
Edward Hopper (1882-1967) is something of an American success story, if only his success had come swifter. At the age of 40, he was a failing artist who struggled to sell a single painting. As he approached 80, Time magazine featured him on its cover. Today, half a century after his death, Hopper is considered a giant of modern expression, with an uncanny, unforgettable, and utterly distinct sense for mood and place. Much of Hopper's work excavates modern city experience. In canvas after canvas, he depicts diners, cafes, shopfronts, street lights, gas stations, rail stations, and hotel rooms. The scenes are marked by vivid color juxtapositions and stark, theatrical lighting, as well as by harshly contoured figures, who appear at once part of, and alien to, their surroundings. The ambiance throughout his repertoire is of an eerie disquiet, alienation, loneliness and psychological tension, although his rural or coastal scenes can offer a counterpoint of tranquility or optimism. This book presents key works from Hopper's uvre to introduce a key player not only in American art history but also in the American psyche.
Over 23 years ago the first publication of Chiparus: Master of Art Deco brought this artist into the public eye. His name, lost in records and catalogues, was rejuvenated by Alberto Shayo's rediscovery of his works, effectively bringing artist and oeuvre back to life. This book dwells on the sources and inspiration of the Art Deco movement, with particular emphasis on sculptures created by Demetre Chiparus. However, Chiparus considered himself a painter above a sculptor. In this latest version of the book, many unpublished pictures come to light as well as newly discovered oils and 'sanguines', confirming his aptitude in both fields.
The question of which 17th-century paintings in Rembrandt's style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today. The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others. The question is how to determine which works were from Rembrandt's own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master's work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The present book provides answers to these questions. Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt's paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt. The verdicts of earlier specialists - including the majority of members of the original RRP (up to 1989) - were based on connoisseurship: the self-confidence in one's ability to recognise a specific artist's style and `hand'. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt's time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist. The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering's account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account. The catalogue section presents a chronologically ordered survey of Rembrandt's entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt's world and the world of art-historical research. Rembrandt's Paintings Revisited is a reprint of the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson's influential survey of Rembrandt's painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings. This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
The most exhilarating painter of the Renaissance and arguably of the whole of western art, Tintoretto was known as Il Furioso because of the attack and energy of his style. His vaunting ambition is recorded in the inscription he placed in his studio: l disegno di Michelangelo ed il colorito di Tiziano ("Michelangelo's drawing and Titian's colour"). The Florentines Vasari and Borghini, and the Venetians Ridolfi and Boschini wrote the earliest biographies of the artist. The four accounts are related each other and form the backbone of the critical success of Tintoretto. Borghini is the first one to give some information about Marietta Tintoretto, also an artist, and Ridolfi is the richest in anecdotes about the artist's life and personality - including the one about the inscription which he may, however, have invented. Boschini, a witty Venetian nationalist, wrote his account in dialect verse. El Greco, whose marginal notes to Vasari are included for the first time in English, Calmo and Franco knew Tintoretto personally and their writings give a real flavour of this complicated man. Unavailable in any form for many years, these biographies have been newly edited for this edition. They are introduced by the scholar Carlo Corsato, who places each in its artistic and literary context. Approximately 50 pages of colour illustrations cover the full range of Tintoretto's astonishing output.
At first glance, there may appear to be more to separate Michelangelo (1475-1564) and Bill Viola (b. 1951) than to unite them: one, the great master of the Italian Renaissance; the other, the creator of state-of-the-art immersive sound and video installations. And yet, when Martin Clayton showed Viola Her Majesty The Queen's unsurpassed collection of Michelangelo drawings at Windsor in 2006, parallels began to emerge. This book presents a new perspective on both artists' works. Stills and sequences from ten key video pieces by Viola are reproduced alongside fourteen of Michelangelo's presentation drawings, as well as the Taddei Tondo, the only Michelangelo marble sculpture in the UK and a treasure of the Royal Academy's collection. Texts by Martin Clayton examine how existential concerns - the preoccupation of many Renaissance artists, not least Michelangelo - are explored in Viola's often profoundly moving video installations, while Kira Perov provides insight into Viola's working processes.
Inspired satire on religion and morality, including 70 aphorisms of "Proverbs of Hell." 27 full-color plates, full text.
Born in Mexico in 1907, Frida Kahlo learned about suffering at an early age. She fell victim to polio at the age of six, and was then seriously hurt in a bus accident at eighteen, resulting in injuries that affected her for the rest of her life. The young and indomitable Frida met Diego Rivera, the great mural painter, when Mexico was at a great cultural and political crossroads. They formed a legendary partnership, with a strong attachment to Mexican folk art, a deep commitment to the Communist struggle and a raging artistic ambition that survived all the trials of their marriage. Admired by the Surrealists and photographed by the greatest, Frida was most renowned for her self-portraits and unusual still lifes. This book traces the extraordinary life of this artist whose unforgettable imagery combined cruelty and wit, honesty and insolence, pain and empowerment.
The popularity and influence of William Morris cannot be underestimated - a man of many talents, he was a poet, writer, social campaigner, artist, designer and, with his Kelmscott Press, a fine book printer and publisher. A hugely important figure of the Arts and Crafts movement, he is best known for his superior wallpaper and textile designs, intricately weaving together natural motifs in highly stylized two-dimensional patterns with medieval influences. Organized into five sections - Life, Inspiration & Influences, Media & Techniques, Politics & Society and Arts & Crafts - The World's Greatest Art: William Morris enables the reader to consider Morris from different angles and contexts, providing a broader understanding of this great artist.
A book without words, recounting a day in the life of an office worker, told completely in the symbols, icons, and logos of modern life. Twenty years ago I made Book from the Sky, a book of illegible Chinese characters that no one could read. Now I have created Book from the Ground, a book that anyone can read. -Xu Bing Following his classic work Book from the Sky, the Chinese artist Xu Bing presents a new graphic novel-one composed entirely of symbols and icons that are universally understood. Xu Bing spent seven years gathering materials, experimenting, revising, and arranging thousands of pictograms to construct the narrative of Book from the Ground. The result is a readable story without words, an account of twenty-four hours in the life of "Mr. Black," a typical urban white-collar worker. Our protagonist's day begins with wake-up calls from a nearby bird and his bedside alarm clock; it continues through tooth-brushing, coffee-making, TV-watching, and cat-feeding. He commutes to his job on the subway, works in his office, ponders various fast-food options for lunch, waits in line for the bathroom, daydreams, sends flowers, socializes after work, goes home, kills a mosquito, goes to bed, sleeps, and gets up the next morning to do it all over again. His day is recounted with meticulous and intimate detail, and reads like a postmodern, post-textual riff on James Joyce's account of Bloom's peregrinations in Ulysses. But Xu Bing's narrative, using an exclusively visual language, could be published anywhere, without translation or explication; anyone with experience in contemporary life-anyone who has internalized the icons and logos of modernity, from smiley faces to transit maps to menus-can understand it.
As famous as the stars he photographed, Brian Duffy defined the image of Swinging London in the 1960s. Together with David Bailey and Terence Donovan, Duffy is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised the industry. Their attitude and aesthetic iconified the scene, birthing the cult of the fashion photographer and inspiring the famous film Blow-Up (Michelangelo Antonioni, 1966). As Duffy put it, "Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!" The press nicknamed the three photographers 'The Terrible Three', while Norman Parkinson added to their notoriety by naming them 'The Black Trinity'. Duffy's most famous photograph is the 'Mona Lisa of pop', the cover of Bowie's 'Aladdin Sane'. He collaborated with the artist over eight years and exerted a direct influence on the numerous reinventions of Bowie's image. It is fitting, therefore, that this new edition should expand on their work together with new images. This new edition of Duffy also features other, new images from the photographer's archive, depicting both star and photographer in their prime. Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957, where he remained working until 1963, photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazines; his list of subjects was a roll call of the celebrities of that time, including Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis Jnr, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs. He was also critically acclaimed for his advertising campaigns with Benson & Hedges and Smirnoff. Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard - although he would later take up the camera again at the behest of his son. Thankfully, many of these negatives have been discovered and salvaged since. Duffy died on 31 May 2010. "Duffy and aggravation go together like gin and tonic." - David Bailey
The most comprehensive book on the paintings of Leonardo da Vinci, with hundreds of illustrations This classic volume on Leonardo's paintings captures the magical qualities that make him one of the most beloved painters in the history of art. Pietro Marani's definitive text is accompanied by hundreds of reference images that immerse the reader in Leonardo's world and studio. Every known painting is discussed in depth, and enlarged details reveal aspects invisible to the naked eye, down to the artist's fingerprints. This new edition includes three newly attributed works, including the Salvator Mundi, whose discovery and sale in 2016 made international news, while color plates have been refreshed throughout, especially of paintings that have been restored or cleaned since the first edition of the book was published in 2000.
One of the most recognizable artists of his era, Amedeo Modigliani is also perhaps one of the least understood. In this thorough, yet refreshingly concise volume, Werner Schmalenbach examines Modigliani's oeuvre, offering a chronological tour of every aspect of Modigliani's career. The informative commentary is complemented by numerous splendid reproductions, many of them full-page color illustrations. The result is an intimate portrait of a life devoted to art and an essential reference for any art lover.
This is not your grandma's embroidery book. Featuring a die-cut case with actual stitching on the front cover, Embroidered Life shows that illustrations created with needle and thread can be strikingly contemporary. From beautiful botanicals to bold affirmations, the work of self-taught fiber artist Sarah K. Benning gives any embroidery enthusiast, art lover, or plant fanatic a new appreciation for the craft of needlework. In this eye-catching art book, popular blogger Sara Barnes guides readers through Benning's innovative embroidery process and successful business model, offering behind-the-scenes insights to inspire makers and creative entrepreneurs.
The book will provides the first detailed history of the Bridgewater collection. The story extends from the 3rd Duke of Bridgewater's purchases in Rome in the 1750s, then on to the major acquisitions of the 1790s (especially from the Orleans collection), then through the incorporation of the collection into the Stafford Gallery by the 2nd Marquess of Stafford (1st Duke of Sutherland), and finally to its reinstallation by Lord Francis Egerton in the new Bridgewater House in 1851. As well as providing a detailed account of the personalities and differing motives of three generations of collectors and owners, the book examines the ways in which the collection was arranged and displayed. It also discusses reactions to it by contemporaries, from sophisticated critics such as William Hazlitt, to the general public, and analyses major publications on it such as the four-volume illustrated catalogue by William Young Ottley of 1818. The illustrations will include many works sold from the collection aft er 1946 and now widely dispersed.
A newly expanded edition of the defining book on one of French Romanticism's most influential and elusive painters Eug ne Delacroix (1798-1863) was a solitary genius who produced stormy Romantic works like The Death of Sardanapalus as well as more classically inspired paintings such as Liberty Leading the People. Over the long span of his career, he responded to the literary fascination with Orientalism, the politics of French imperialism, and the popular interest in travel, painting everything from sweeping, epic tales to intimate interiors. In this beautifully illustrated book, Barth l my Jobert delves into all facets of Delacroix's life and art, providing an unforgettable portrait of perhaps the greatest and most elusive painter of the French Romantic movement. Bringing together large canvases, decorative cycles, watercolors, and engravings, Jobert explores the inner tensions and contradictions that drove the artist, re-creating the political and cultural arenas in which Delacroix thrived and enabling readers to fully appreciate the extraordinary range of his artistic production. He reveals how Delacroix successfully navigated the Salons of Paris and the halls of government, socialized with George Sand and Victor Hugo, engaged in intense philosophical discussions about art with Baudelaire, and maintained a lively repartee with the press. He vividly describes Delacroix's journey to Morocco, which unexpectedly led him to rediscover his classical roots, and shows how Delacroix profoundly influenced later painters such as C zanne and Picasso. This new and expanded edition of Jobert's acclaimed book includes a thoroughly updated introduction and conclusion, and a wealth of new information and illustrations throughout.
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