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Studies in Perspective
When the Renaissance reached Northern Europe, Jan Vredeman de Vries (1527–1604) ranked among its most influential advocates. His books of architectural engravings opened new avenues of invention, reflecting the era's artistic crosscurrents. Their combination of Northern and Southern elements forms a powerful expression of sixteenth-century Netherlands culture and constitutes a new style that spread throughout Germany, Scandinavia, and the British Isles. This book, the last and greatest of Vredeman's works, perpetuated not only the Renaissance interest in perspective but also the important work done by Dürer, from whom Vredeman acquired much of his knowledge. These engravings include exteriors of architectural structures, Gothic interiors, gardens, medieval townscapes, and views into domes or vaults and down many-tiered stairwells. More than 70 plates offer a fascinating collection for any art lover.
The City Rehearsed
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Perspective
Includes 73 perspective plates from the 1604 edition; buildings, townscapes, stairways, and other fantastic scenes. A work remarkable for beauty and its surrealistic atmosphere.
Architecture Without Kings
A general survey of what was being built in England and Wales during the Commonwealth years, 1642-60, using the career of architect Inigo Jones (1573-1652) as a framework to demonstrate the gradual move from rich chaos to dull order. Covers the stark churches, the emerging architects of the Puritan order, country houses, London, the universities, gardens, and four large regions. Illustrated with black-and-white photographs and drawings. Distributed in the US by St. Martin's Press. Annotation copyright by Book News, Inc., Portland, OR
The City Rehearsed
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Dürer and Beyond
"This exhibition is the first to offer an extensive overview of the Museum's holdings of early Central European drawings, many of which were acquired in the last two decades. An emphasis on works by later sixteenth- and seventeenth-century artists is balanced by a selection of German drawings from the fifteenth and earlier sixteenth century, of which some of the most exceptional ones--including works by Albrecht Deurer--entered the Museum with The Robert Lehman Collection in 1975."--Publisher's website.
Sumptuous Memories
"Although the conditions for a flourishing art of sculpture in the Netherlands received a serious setback after the Iconoclasm and the Reformation, around 100 sculpted sepulchral monuments were nevertheless erected in the 17th century, ranging from simple memorials to completely free-standing tombs. Behind these remarkable works of art lies a world of prominent patrons and first-class sculptors, of major financial investments and costly materials, of status and personal sorrow." "The patronage of this funerary sculpture is the thread running through this book - the first detailed study of 17th-centry Dutch sculpture for more than 50 years. Who ordered these monuments and why? Who were the artists involved and how did they organise their work? What were the functions and meanings of this sepulchral sculpture? What were the costs involved in erecting the tombs, and how were they viewed by the 17th-century public? These and other questions are examined from various different angles."--BOOK JACKET.
Peasant Scenes and Landscapes
Larry Silver investigates the origins of new pictorial types and their media as a phenomenon of sixteenth-century Antwerp and interprets several pictorial genres as he charts their evolution and their role in the development and marketing of individual artistic styles.
Emblems in Scotland
Emblems in the visual arts use motifs which have meanings, and in Emblems in Scotland Michael Bath, leading authority on Renaissance emblem books, shows how such symbolic motifs address major historical issues of Anglo-Scottish relations, the Reformation of the Church and the Union of the Crowns. Emblems are enigmas, and successive chapters ask for instance: Why does a late-medieval rood-screen show a jester at the Crucifixion? Why did Elizabeth I send Mary Queen of Scots tapestries showing the power of women to build a feminist City of God? Why did a presbyterian minister of Stirling decorate his manse with hieroglyphics? And why in the twentieth-century did Ian Hamilton Finlay publish a collection of Heroic Emblems?
