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Books : Arts & Photography : Schools, Periods & Styles : Rococo
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In the hands of an award-winning historian, Vermeer’s dazzling paintings become windows that reveal how daily life and thought—from Delft to Beijing—were transformed in the seventeenth century, when the world first became global. A painting shows a military officer in a Dutch sitting room, talking to a laughing girl. In another, a woman at a window weighs pieces of silver. Vermeer’s images captivate us with their beauty and mystery: What stories lie behind these stunningly rendered moments? As Timothy Brook shows us, these pictures, which seem so intimate, actually offer a remarkable view of a rapidly expanding world. The officer’s dashing hat is made of beaver fur, which European explorers got from Native Americans in exchange for weapons. Those beaver pelts, in turn, financed the voyages of sailors seeking new routes to China. There—with silver mined in Peru—Europeans would purchase, by the thousands, the porcelains so often shown in Dutch paintings of this time. Moving outward from Vermeer’s studio, Brook traces the web of trade that was spreading across the globe. The wharves of Holland, wrote a French visitor, were “an inventory of the possible.” Vermeer’s Hat shows just how rich this inventory was, and how the urge to acquire the goods of distant lands was refashioning the world more powerfully than we have yet understood.
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The eighteenth-century Venetian painter Giambattista Tiepolo spent his life executing commissions in churches, palaces, and villas, often covering vast ceilings like those at the Würzburg Residenz in Germany and the Royal Palace in Madrid with frescoes that are among the glories of Western art. The life of an epoch swirled around him—but though his contemporaries appreciated and admired him, they failed to understand him.
Few have even attempted to tackle Tiepolo’s series of thirty-three bizarre and haunting etchings, the Capricci and the Scherzi, but Roberto Calasso rises to the challenge, interpreting them as chapters in a dark narrative that contains the secret of Tiepolo’s art. Blooming ephebes, female Satyrs, Oriental sages, owls, snakes: we will find them all, as well as Punchinello and Death, within the pages of this book, along with Venus, Time, Moses, numerous angels, Cleopatra, and Beatrice of Burgundy—a motley company always on the go.
Calasso makes clear that Tiepolo was more than a dazzling intermezzo in the history of painting. Rather, he represented a particular way of meeting the challenge of form: endowed with a fluid, seemingly effortless style, Tiepolo was the last incarnation of that peculiar Italian virtue sprezzatura, the art of not seeming artful.
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Caravaggio, or more accurately Michelangelo Merisi da Caravaggio (Milan 1571 Porto Ercole 1610), was a legend even in his own lifetime. Celebrated by some for his naturalism and his revolutionary pictorial inventions, he was considered by others to have destroyed painting. Few other artists have attracted such controversial and contradictory interpretations right up to modern times and to the latest art historical research.
The book offers a comprehensive new examination of the whole of Caravaggio s uvre with a catalogue raisonée of his works. Five introductory chapters analyse his artistic career from his training in Lombard Milan and his triumphal rise in papal Rome up to his dramatic final years in Naples, Malta and Sicily. The spotlight thereby falls upon the radical nature and innovative force of his art and its influence in all of Europe.
Our understanding of Caravaggio s work has been substantially broadened in recent decades by major exhibitions, restoration campaigns, new attributions and archival discoveries. The new catalogue raisonée offers a detailed overview of Caravaggio s entire uvre on the basis of the latest research. All the paintings are documented in large-scale reproductions and spectacular detail illustrations that set new standards in their scope and quality.
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In Book Four: Faith, Reason, and Power in the Early Modern World, readers are exposed to the cornerstones of the early modern world, from the age of the Baroque to the art, music, and culture of the eighteenth century. As in previous volumes, the author presents lively discussion accompanied by literary excerpts and examples to illuminate a variety of topics, including Catholicism's global reach, the birth of modern philosophy, the political theories of Hobbes and Locke, the Enlightenment, and the music of Hayden and Mozart, to name a few.
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An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.
The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.
Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.
Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.
Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. The fascinating details of Caravaggio’s strange, turbulent career and the astonishing beauty of his work come to life in these pages. Harr’s account is not unlike a Caravaggio painting: vivid, deftly wrought, and enthralling.
". . . Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . .in truth, the book reads better than a thriller because, unlike a lot of best-selling nonfiction authors who write in a more or less novelistic vein (Harr's previous book, A Civil Action, was made into a John Travolta movie), Harr doesn't plump up hi tale. He almost never foreshadows, doesn't implausibly reconstruct entire conversations and rarely throws in litanies of clearly conjectured or imagined details just for color's sake. . .if you're a sucker for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly reported details about life in the city, as when--one of my favorite moments in the whole book--Francesca and another young colleague try to calm their nerves before a crucial meeting with a forbidding professor by eating gelato. And who wouldn't in Italy? The pleasures of travelogue here are incidental but not inconsiderable." --The New York Times Book Review
"Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste--and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read." --The Economist
From the Hardcover edition.
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Built on the premise that we have the answers we need within ourselves, this classical tarot card deck combines Old World atmosphere with surprisingly modern faces. Demonstrating the evocative and universal qualities of human expression, this is the first set of divination cards to consist entirely of portraits—most looking directly at the viewer to form a connection between the reader and the card. Each visage conveys an easy understanding of the cards unique meaning, allowing the deck to be used straight from the box without any special knowledge. Complete with a straightforward and informational booklet, the rich, dark colors and sumptuous costumes brings an antique look to this set based on the popular Rider-Waite-Smith card style.
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Written by a leading scholar, Seventeenth Century Art: Architecture, 2/e is the only text on the market that introduces students to the three major art forms-painting, sculpture and architecture, across six countries. The text engagingly and effectively combines analytical discussions with an expansive collection of vivid, illuminating illustrations that teach students the major developments of art, painting, and architecture that emerged from seventeenth-century Western Europe, as well as the socio-political and cultural background of the period.
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The Case Study House program (1945 1966) was an exceptional, innovative event in the history of American architecture and remains to this day unique. The program, which concentrated on the Los Angeles area and oversaw the design of 36 prototype homes, sought to make available plans for modern residences that could be easily and cheaply constructed during the postwar building boom. Highly experimental, the program generated houses that were designed to redefine the modern home, and thus had a pronounced influence on architecture American and international both during the program's existence and even to this day. This compact guide includes all projects featured in our XL version, with over 150 photos and plans and a map of where all houses are (or were) located.
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One of the most versatile and influential artists of northern Europe in the 7th century, Peter Paul Rubens (1577-1640) had a remarkable ability to bring his paintings intensely and joyfully alive. He was a successful businessman who ran an efficient studio, and was also a classical scholar, an enthusiastic collector of art and antiquities, and a respected diplomat on intimate terms with European royalty. Contemporaries admired his extraordinary artistic versatility. His paintings include portraits, altarpieces, allegories and landscapes; he also designed tapestries, book illustrations, silverware and his own home. In this study, Kristin Lohse Belkin shows that there is more to Rubens than the Rubenesque nude. She explores his techniques and workshop practices, the role of women in his life and art, and his engagement with contemporary issues of Church and state. She unravels the allegorical and iconographic content of key works, situating them within their original settings. Drawing on his extensive correspondence, she traces his involvement in the events of his time.
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For courses in the History of Art.
Completely rewritten and reorganized, this groundbreaking edition weaves together the most recent scholarship, the most current thinking in art history, and the most innovative digital art library. Experience the new Janson and re-experience the history of art.
The Portable Edition of Janson’s History of Art, Seventh Edition features four lightweight, paperback books packaged together along with optional access to a powerful student website, www.myartkit.com, making the text more student friendly than ever. Janson’s History of Art is still available in the original hardcover edition and in Volume I and Volume II splits. The Portable Edition is comprised of four books each representing a major period of art history:
Book 1: Ancient Art includes chapters 1-7
Book 2: Medieval Art includes chapters 8-13
Book 3: The Renaissance Art Through the Rococo includes chapters 13-22
Book 4: The Modern World includes chapters 23-30.
Long established as the classic and seminal introduction to art of the Western world, the Seventh Edition of Janson's History of Art is groundbreaking. When Harry Abrams first published the History of Art in 1962, John F. Kennedy occupied the White House, and Andy Warhol was an emerging artist. Janson offered his readers a strong focus on Western art, an important consideration of technique and style, and a clear point of view. The History of Art, said Janson, was not just a stringing together of historically significant objects, but the writing of a story about their interconnections, a history of styles and of stylistic change. Janson’s text focused on the visual and technical characteristics of the objects he discussed, often in extraordinarily eloquent language. Janson’s History of Art helped to establish the canon of art history for many generations of scholars.
The new Seventh Edition introduces the authorship of six distinguished specialists narrating the history of art for today’s students. The contribution of multiple authors allows an expert's understanding to permeate each and every part of the text with a currency in art historical thinking and an enhanced discussion of context.
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In 16th- and 17th-century Spain, sculptors and painters combined their skills to depict, with astonishing realism, the great religious themes. Wooden sculptures of the saints, the Immaculate Conception, or the Passion of Christ were painstakingly carved, gessoed, and intricately painted, even embellished with glass eyes and tears and ivory teeth. Some were shockingly graphic in their depiction of Christ's sufferings; others, beautifully clothed, appeared to bring saints to glorious life. These were objects of divine inspiration to the faithful, whether displayed on altars or processed through the streets on holy days.
Featuring new photography, this book reappraises the unique form of Spanish painted wooden sculpture. In addition to examining the sculptures’ religious roles, it also explores the unique creative relationship of sculptor and painter: Velazquez's teacher and father-in-law Francisco Pacheco, for example, often painted the flesh and drapery of wood carvings by the celebrated sculptor Juan Martinez Montañès, and taught a generation of students. The skill of painting these hyper-realistic sculptures was an integral part of an artist's training, enhancing his sensitivity to visual impact and physical presence—evident in paintings of the period.
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The 35 paintings that have come down to us from the hand of Jan Vermeer (1632-1675) place him beside Rembrandt and Frans Hals as one of the great masters of the golden age of Dutch art. Most of his pictures, all of which are reproduced in this text, show women about their daily business. Vermeer records the tasks and duties of women, the imperatives of virtue under which their lives were lived, and the dreams that provided the substance of their contrasting counter-world.
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Although the extensive literature on Rembrandt could fill a small library, there has been no up-to-date survey of his extraordinary achievement as a draftsman. Renowned Rembrandt scholar Seymour Slive fills this void with his scrutiny of some 150 drawings culled from a corpus of about eight hundred by the master. The drawings, reproduced in color, are accompanied by etchings and paintings by Rembrandt and others, including Leonardo and Raphael. Unlike other publications of Rembrandt's drawings, they are here arranged thematically, which makes his genius crystal clear. Individual chapters focus on self-portraits, portraits of family members and friends, the lives of women and children, nudes, copies, model and study sheets, animals, landscapes and buildings, religious and mythological subjects, historical subjects, and genre scenes. Slive further discusses possible doubtful attributions, which account for the considerable reduction from earlier times in the number of drawings now ascribed to the master.
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A critically acclaimed historian of France and French culture identifies the moment in modern history when informality and comfort first became priorities, causing a sudden transformation in the worlds of architecture and interior decoration that would last for centuries.Today it is difficult to imagine a living room without a sofa. When the first sofas on record were delivered in seventeenth-century France, the result was a radical reinvention of interior space. Symptomatic of a new age of casualness and comfort, the sofa ushered in an era known as the golden age of conversation; as the first piece of furniture designed for two, it was also considered an invitation to seduction. At the same moment came many other changes in interior space we now take for granted: private bedrooms, bathrooms, and the original living rooms.
None of this could have happened without a colorful cast of visionaries—legendary architects, the first interior designers, and the women who shaped the tastes of two successive kings of France: Louis XIV’s mistress the Marquise de Maintenon and Louis XV’s mistress the Marquise de Pompadour. Their revolutionary ideas would have a direct influence on realms outside the home, from clothing to literature and gender relations, changing the way people lived and related to one another for the foreseeable future.
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Baroque and Rococo art and architecture have become popular once more, after a century and a half of neglect, misunderstanding and scorn. This radical shift in taste has led to a rapid growth in detailed knowledge about the artists who created these exhilarating styles. The famous masters have been reassessed and whole areas of achievement - Italian Baroque painting, German Rococo architecture - have been brought to a new, enthusiastic public. Germain Bazin's engrossing survey of this rich subject ranges over all Europe and traces the origins and effects of Baroque and Rococo - from the Counter-Reformation to Neoclassicism, Exoticism and even Art Nouveau. 'He writes with a Gallic verve and grace which are very successfully conveyed through Mr Jonathan Griffin's translation .... His observations upon painters and painting are particularly acute' (The Connoisseur) --- from book's back cover
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Gian Lorenzo Bernini (1598-1680) was the most influential sculptor of his age. Inventive and skilled, he virtually created the Baroque style. In his religious sculptures he excelled at capturing movement and extreme emotion, uniting figures with their setting to create a single conception of overwhelming intensity that expressed the fervour of Counter-Reformation Rome. Intensity and drama also characterize his portraits and world-famous Roman fountains. This monograph provides an authoritative introduction to all aspects of Bernini's sculpture, while the full catalogue gives detailed information on his complete oeuvre.
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M is the name of an enigma. In his short and violent life, Michaelangelo Merisi, from Caravaggio, changed art for ever. In the process, he laid bare his own sexual longing and the brutal realities of his life with shocking frankness. Like no painter before him and few since, M the man appears in his art. As a book about art and life and how they connect, there has never been anything quite like it. "A great read; it grabs, it kicks, it lives. Feel the force of Caravaggio's cutting edge" - "Guardian". "Written in a vehemently passionate and colloquial style, M is an abrasive, flawed, idiosyncratic book, but it is full of energy. Peter Robb's Caravaggio may not be entirely believable, but he is thoroughly alive, a being as full of mystery and contradictions as the painter once seemed to his contemporaries" - "Daily Telegraph".
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Notorious bad boy of Italian Baroque painting, Caravaggio (1571-1610) is finally getting the recognition he deserves. Though his name may be familiar to all of us, his work has been habitually detested and forced into obscurity. Not only was his theatrical realism unfashionable in his time, but his sacrilegious subject matter and use of lower class models were violently scorned. Michelangelo Mirisi de Caravaggio lived a life riddled with crime and scandal, producing a body of work that wouldn't be appreciated until centuries after his mysterious death. Though his body was never found, he is assumed to have been murdered by ruffians on a beach south of Rome-a fate strangely similar to that of controversial Italian director Pier Paolo Pasolini who was, like Caravaggio, a homosexual.Caravaggio's reputation was decidedly poor during his lifetime; sometimes rich, sometimes penniless, when he wasn't in prison he was running away from the police or his enemies. Perhaps no other painter has suffered such injustice: his works were often attributed to more respected painters while he was given the credit for just about anything vulgar painted in the chiaroscuro style. Caravaggio's great work had the misfortune of enduring centuries of disrepute. It wasn't until the end of the 19th century that he was rediscovered and, quite posthumously, deemed a great master.
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This is a nonchronological introduction to Baroque, one of the great periods of European art. John Martin's descriptions of the essential characteristics of the Baroque help one to gain an understanding of the style. His illustrations are informative and he has clearly looked with a fresh eye at the works of art themselves. In addition to the more than 200 illustrations, the volume contains an appendix of translated documents.