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Orazio and Artemisia Gentileschi [published to Accompany the Exhibition Held at the Museo Del Palazzo Di Venezia, Rome, 15 October - 6 January 2002 ; the Metropolian Museum of Art, New York, 14 February - 12 May 2002 ; the Saint Louis Art Museum, 15 June - 15 September 2002
This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.
The Encyclopedia of Sculpture: A-F
This book explores the influence of Enlightenment and Romantic-era theories of the mind on the writings of Godwin and Shelley and examines the ways in which these writers use their fiction to explore such psychological phenomena as ruling passions, madness, the therapeutic value of confessions (both spoken and written), and the significance of dreams. Unlike most studies of Godwin and Shelley, it does not privilege their masterworks--for the most part, it focuses on their lesser-known writings. Brewer also considers the works of other Romantic-era writers, as well as the seventeenth- and eighteenth-century philosophical and medical theories that informed Godwin's and Shelley's presentations of mental states and types of behavior.
Italian and Spanish Sculpture
The catalogue is abundantly illustrated, including multiple views of each sculpture."--BOOK JACKET.
Between God and Man
How Italian artists have represented one of the most revered religious images--the angel
Federico Barocci and the Oratorians
In 1586, Federico Barocci delivered his Visitation of the Virgin and St. Elizabeth to the Chiesa Nuova in Rome. For the next quarter century, Barocci dominated the art scene in Rome; there was no other artist from whom it was harder to get work and no other artist charged such high prices. Having two important altarpieces in the Chiesa Nuova and two additional commissions discussed was an impressive feat for an artist living exclusively in Urbino. Why did the Oratorians monopolize Barocci’s talents in Rome and why does it seem that Barocci was their first choice when considering artists to decorate their church? What was it about Barocci’s art that appealed to Oratorian sensibilities and...
The Grove Encyclopedia of Decorative Arts
The Grove Encyclopedia of Decorative Arts covers thousands of years of decorative arts production throughout western and non-western culture. With over 1,000 entries, as well as hundreds drawn from the 34-volume Dictionary of Art, this topical collection is a valuable resource for those interested in the history, practice, and mechanics of the decorative arts. Accompanied by almost 100 color and more than 500 black and white illustrations, the 1,290 pages of this title include hundreds of entries on artists and craftsmen, the qualities and historic uses of materials, as well as concise definitions on art forms and style. Explore the works of Alvar Aalto, Charles and Ray Eames, and the Wiener Wekstatte, or delve into the history of Navajo blankets and wing chairs in thousands of entries on artists, craftsmen, designers, workshops, and decorative art forms.
Rome
The city of Rome contains some of the world's most famous buildings such as the Pantheon and St Peter's. This illustrated guide to Rome's architecture includes these and over 200 other important buildings within a straightforward chronological structure. Each building is fully described in its own numbered entry, with a photograph, name, date, location and name of architect. Building plans, historical time charts and five detailed street maps showing the exact locations of each building are also included. With its historical overview and chronological structure, this should be useful as a reference book on Rome's architectural heritage.
Romanesque Art
In art history, the term ‘Romanesque art’ distinguishes the period between the beginning of the 11th and the end of the 12th century. This era showed a great diversity of regional schools each with their own unique style. In architecture as well as in sculpture, Romanesque art is marked by raw forms. Through its rich iconography and captivating text, this work reclaims the importance of this art which is today often overshadowed by the later Gothic style.
Giovanni Bellini
Praised by Albrecht Dürer as being “the best in painting,” Giovanni Bellini (ca. 1430– 1516) is unquestionably the supreme Venetian painter of the quattrocento and one of the greatest Italian artists of all time. His landscapes assume a prominence unseen in Western art since classical antiquity. Drawing from a selection of masterpieces that span Bellini's long and successful career, this exhibition catalogue focuses on the main function of landscape in his oeuvre: to enhance the meditational nature of paintings intended for the private devotion of intellectually sophisticated, elite patrons. The subtle doctrinal content of Bellini’s work—the isolated crucifix in a landscape, the ...
