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Titian, Tintoretto, Veronese
"For nearly four decades in the sixteenth century, the careers of Renaissance Venice's three greatest painters - Titian, Tintoretto, and Veronese - overlapped, encouraging mutual influences and bitter rivalries that changed the course of art history. Venice was then among Europe's richest cities, and its plentiful commissions fostered an exceptionally fertile and innovative climate. In this environment, the three artists - brilliant, ambitious, and fiercely competitive - vied with each other for primacy, deploying the new combination of oil on canvas, with its unique expressive possibilities, and such new approaches as a personal and identifiable signature touch. They also pioneered the use ...
Goya
Francisco Goya has been widely celebrated as the most important Spanish artist of the late eighteenth and early nineteenth centuries, the last of the Old Masters and the first of the Moderns, and an astute observer of the human condition in all its complexity. The many-layered and shifting meanings of his imagery have made him one of the most studied artists in the world. Few, however, have made the ambitious attempt to explore his work as a painter, printmaker, and draftsman across media and the timeline of his life. This book does just that, presenting a comprehensive and integrated view of Goya through the themes that continually challenged or preoccupied him, and revealing how he strove relentlessly to understand and describe human behavior and emotions even at their most orderly or disorderly extremes. Derived from the research for the largest Goya art exhibition in North America in a quarter century, this book takes a fresh look at one of the greatest artists in history by examining the fertile territory between the two poles that defined the range of his boundlessly creative personality.
Casanova
A re-creation of the glorious and seductive visual world of eighteenth-century Europe through the life of one of its most notorious figures. In 18th-century Europe, the shape-shifting libertine Giacomo Casanova seduced his way across the Continent. Although notorious for the scores of amorous conquests he recorded in his remarkably frank memoirs, Casanova was just as practised at charming his way into the most elite social circles. In his travels across Europe and through every level of society from the theatrical demimonde to royal courts, he was also seduced by the visual splendours he encountered. This volume accompanies the first major art exhibition to recreate Casanova's visual world, ...
When Michelangelo Was Modern
Through case studies of collectors, patrons, and agents who redefined collecting and the art market, this volume illuminates how the changing status of the artist, rise of connoisseurship, role of intermediaries and new patterns of consumption established models for collecting and display that resemble those still practiced today. The book presents new research by recognized scholars who examine the motivations of collectors and agents, emphasizing how their collecting, patronage and advocacy could require support of artists whose reputations were not fully established. Together, the essays invite consideration of works that are familiar in art-historical terms but less so as markers of the socio-economic shifts of a particular cultural moment. This book evolved from a symposium “When Michelangelo was Modern: The Art Market and Collecting in Italy, 1450–1650,” organized by the Center for the History of Collecting, that was held at The Frick Collection on April 12 and 13, 2019. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation. The book is published in association with The Frick Collection.
Tintoretto
Considered one of the three greatest painters of sixteenth-century Venice, along with Titian and Veronese, Tintoretto was a bold innovator. His free, expressive brushwork made his work look unfinished to contemporaries but is now recognized as a key step in the development of oil-on-canvas painting. Even today's audiences are astonished by the superhuman scale, painterly dynamism, and visionary qualities of his work. On the 500th anniversary of Tintoretto's birth, this volume provides a comprehensive overview of his career and achievement, with fifteen essays and reproductions of more than 140 paintings--many newly conserved--as well as a selection of his finest drawings. One special contribution is a focus on the artist's portraiture.--Provided by publisher.
An Exemplary Whig
Historians have paid surprisingly little attention to state-level political leaders and judges. Edward Kent (1802–77) was both. He served three terms as a state legislator, two as mayor of Bangor, two as governor, and two as a judge of the state supreme court. He represented Maine in the negotiations that resolved the long-running northeastern border dispute between the United States and Great Britain and served for four years as the American consul in Rio de Janeiro. The foremost Whig in Maine state politics and later a Republican judge, Kent articulated classic Whig political views and carried them forward into his Whig-Republican jurisprudence. In examining Kent's career as Maine's quin...
Jacopo Tintoretto: Identity, Practice, Meaning
Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.
US Consular Representation in Britain since 1790
In its early years the United States Consular Service was a relatively amateurish organization, often staffed by unsuitable characters whose appointments had been obtained as political favours from victorious presidential candidates—a practice known as the Spoils System. Most personnel changed every four years when new administrations came in. This compared unfavourably with the consular services of the European nations, but gradually by the turn of the twentieth century things had improved considerably—appointment procedures were tightened up, inspections of consuls and how they managed their consulates were introduced, and the separate Consular Service and Diplomatic Service were merged to form the Foreign Service. The first appointments to Britain were made in 1790, with James Maury becoming the first operational consul in the country, at Liverpool. At one point, there was a network of up to ninety US consular offices throughout the UK, stretching from the Orkney Islands to the Channel Islands. Nowadays, there is only the consular section in the embassy and the consulates general in Edinburgh and Belfast.
Theaters of Anatomy
The anatomy theater is where students of the human body learn to isolate structures in decaying remains, scrutinize their parts, and assess their importance. Taking a new look at the history of anatomy, the author places public dissections alongside private ones to show how the anatomical theater was both a space of philosophical learning and a place where students learned to behave in a civil manner towards their teachers, their peers, and the corpse.
Restoration as Fabrication of Origins
The aim of this publication is to clarify the relationships between material restoration and politics in Italian Renaissance art. The focus of this research is on the question of origin as a foothold for political, patrimonial, and cultural identity. These claims were enacted within a system which, rather than restoring the initial forms and meanings of existing objects, remodeled the past according to new identity requirements: spaces were reorganized, and works of art invested with new meanings. Their material and aesthetic reality was thus transformed and redefined. The aim is therefore to analyze the potential physical modifications of these artefacts in light of their symbolic recoding. Restoration practices in Italian Renaissance art Reassessing the concept of Renaissance Recording of ancient works for political purposes
