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"Frances Hodgkins, our most celebrated artist, left New Zealand in 1901, determined to succeed. In this engaging book, curator Mary Kisler follows in Hodgkins' footsteps through England, France, Italy, Morocco, Spain and Wales to discover the locations in which Hodgkins constantly pushed her exploration of modernism. Warm, insightful, fresh, expert and richly illustrated, this handsome book sheds new light on Hodgkins' life, art and social milieu"--Publisher's website (accessed 2/5/2019).
It is entirely possible to immerse oneself in the glories of European art without having to travel to the Louvre, the Uffizzi, the Tate or the Frick. That's because New Zealand's public art galleries are richly studded with works collected by benefactors over the last 150 years and generously gifted to the nation. Many are infrequently seen and the richness of the collections often goes unacknowledged. In this outstanding book, respected curator Mary Kisler delves into the storerooms and reintroduces our historic art treasures (and those generous individuals who collected them) to us. Superbly illustrated, accessibly written and meticulously researched, Angels and Aristocrats is both a long-...
Studies of the city, and of women's experiences of the city, have focused primarily on modern times, especially as modernism was defined in large part by urban life. Italy, however, has a long history of urban-centered culture, and women have been a vocal part of that culture since the Renaissance. This volume, therefore, looks at the art and literature of both earlier and more modern periods to investigate the meanings of the city for Italian women, the intensely gendered meanings (for both sexes) of those city spaces that excluded women, and the conditions that permitted a limited permeability of gendered boundaries. Two aspects to the combination of "women" and "city" are salient to these...
The work of Italian printmaker Giovanni Battista Piranesi (1720–1778) has captivated artists, architects and designers for centuries. Although contemporary Australia is a long way from eighteenth-century Rome, it is home to substantial collections of his works, the largest being at the State Library of Victoria and the University of Melbourne. The Piranesi Effect is a collection of exquisitely illustrated essays on the impact of Piranesi’s work throughout the years. The book brings together Australian and international experts who investigate Piranesi’s world and its connections to the study of art and the practice of artists today. From curators and art historians, to contemporary artists like Bill Henson and Ron McBurnie, the contributors each bring their own passion and insight into the work of Piranesi, illuminating what it is about his work that still inspires such wonder.
Art and Food is a collection of essays exploring a range of research topics relating to the representation of food in art and art in food, from iconography and allegory, through class and commensality, to kitchen architecture and haute cuisine.
Letters of Frances Hodgkins is a generous selection of letters written by New Zealand's most internationally well-known artist. It shows that Hodgkins deserves not only her considerable reputation as a painter, but also that of a brilliant and engaging writer. The letters reveal Hodgkins' changing moods, impressions and fortunes and provide vivid sketches of the people and landscapes she came across. Spanning from colonial Dunedin to her travels across Europe and North Africa, the letters continue through her final flowering in her 60s and 70s. Linda Gill's careful scholarship and sensitive appreciation of Hodgkins' talents and personality make her introduction and notes the perfect framework for the artist's own words. A chronology, an in-depth bibliography and an index of letter recipients complement the work. Extensively illustrated, with eight pages of colour reproductions of Hodgkins' paintings, Letters of Frances Hodgkins is central to understanding Hodgkins as artist and woman.
In this ground-breaking book, a theory of ‘distortion’ - of the way in which the processes of human life are subject to interference, diversion and transformation - is developed by way of the art of one of Britain’s greatest twentieth-century painters and that art’s public reception. Devoted to his native village of Cookham-on-Thames, Stanley Spencer painted not only landscapes and portraits with loving detail but also the ‘memory-feelings’ which he felt were a ‘sacred’ part of his consciousness. Yet Spencer was also a controversial public figure, with some taking the view that his visionary paintings were ugly distortions of human life, even marks of an immoral nature. Exami...
The uniformity of the eighteenth-century novel in today's paperbacks and critical editions no longer conveys the early novel's visual exuberance. Janine Barchas explains how during the genre's formation in the first half of the eighteenth century, the novel's material embodiment as printed book rivalled its narrative content in diversity and creativity. Innovations in layout, ornamentation, and even punctuation found in, for example, the novels of Richardson, an author who printed his own books, help shape a tradition of early visual ingenuity. From the beginning of the novel's emergence in Britain, prose writers including Daniel Defoe, Jonathan Swift, and Henry and Sarah Fielding experimented with the novel's appearance. Lavishly illustrated with more than 100 graphic features found in eighteenth-century editions, this important study aims to recover the visual context in which the eighteenth-century novel was produced and read.
As the King's young cousin, an admired scholar living in Italy, it falls to Reginald Pole to make the case for Henry's divorce from Katherine of Aragon. And it falls to the hapless Michael Throckmorton - the younger son of an impecunious titled family - to become Thomas Cromwell's messenger to Pole in Rome. This dubious privilege makes of Throckmorton's life a tragicomedy of endless journeys back and forth between England and Italy, but it also makes him a canny observer of the great dramas of his time. And like his King, he too nurses a thwarted desire.
Ever since the mid-nineteenth century, when the new medium of photography was pressed into service to illustrate sculpture, photographs of sculptural objects have directed viewers as to what, in the course of ambling around a sculpture, was the single perfect moment to stop and look. What is the photograph’s place in writing the history of sculpture? How has it changed according to culture, generation, criti-cal conviction, and changes in media? Photography and Sculpture: The Art Object in Reproduction studies aspects of these questions from the perspectives of sixteen leading art historians. Their essays consider iconic photographs, archival collections, new and forgotten technologies, and conceptual challenges in photographing three-dimensional forms that have directed changing historical and stylistic attitudes about how we see, write about, and narrate histories of sculpture. Chapters on such varied topics as picturing Conceptual art, manipulating sacred images in India to be non-photographs, and framing Roman art with an iPad illustrate the latent visual and narrative powers and ever-expanding potential of these images of sculpture.