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Hafted Weapons in Medieval and Renaissance Europe
The development treated in this volume of a variety of staff weapons in the Medieval and Renaissance periods in Europe is of importance, as the repeated success of their use caused substantive political changes. Their typology, use, and smithing techniques as well as correlations with contemporary artistic renditions, are discussed in great detail. Surviving specimens from museums and collections throughout the Western Hemisphere are used. Conservation issues are also dealt with. The book is heavily illustrated with black and white, color photographs and drawings and has a foreword by Walther Karcheski, Chief Curator of Arms and Armor of the Frazier Antique Arms Museum. It is intended as a reference for historical scholars, artists, museum curators, private collectors and the art market, and is a timely clarification of the nature of these arms.
Perfect Likeness
Diminutive marvels of artistry and fine craftsmanship, portrait miniatures reveal a wealth of information within their small frames. They can tell tales of cultural history and biography, of people and their passions, of evolving tastes in jewelry, fashion, hairstyles, and the decorative arts. Unlike many other genres, miniatures have a tradition in which amateurs and professionals have operated in parallel and women artists have flourished as professionals. This richly illustrated book presents approximately 180 portrait miniatures selected from the holdings of the Cincinnati Art Museum, the largest and most diverse collection of its kind in North America. The book stresses the continuity of stylistic tradition across Europe and America as well as the vitality of the portrait miniature format through more than four centuries. A detailed catalogue entry, as well as a concise artist biography, appears for each object. Essays examine various aspects of miniature painting, of the depiction of costume in miniatures, and of the allied art of hair work.
Italian Ceramics
In 1984 the Getty Museum acquired an exceptional collection of Italian Renaissance maiolica, or tin-glazed earthenware. These often brilliantly colored objects range from an early Florentine jar with relief-blue decoration to a much later Mannerist dish with grotesque ornament. The collection was the subject of Italian Maiolica, a beautifully illustrated catalogue that the Museum published in 1988. Italian Ceramics amplifies and updates the earlier volume, including objects—some of them porcelain and terracotta—acquired during the intervening years. Among them are a pair of eighteenth-century candlesticks representing mythological scenes and a tabletop with hunting scenes; and, from the 1790s, the beautifully modeled and painted Saint Joseph with the Christ Child. Italian Ceramics contains the most recent scientific, historical, and iconographic information about the Museum’s holdings. Completely revised and expanded, this book offers a wealth of new information about the Getty Museum’s superb collection, which spans more than four centuries of Italian ceramic art.
Austrian Information
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Alternative Exchanges
"Exchanges have always had more than economic significance: values circulate and encounters become institutionalized. This volume explores the changing meaning of the circulation of second-hand goods from the Renaissance to today, and thereby examines the blurring of boundaries between market, gifts, and charity. It describes the actors of the market - official entities such as corporations, recognized professions, and established markets but also the subterranean circulation that develops around the need for money. The complex layers that not only provide for numerous intermediaries but also include the many men and women who, as sellers or buyers, use these circulations on countless occasions are also examined." --Book Jacket.
The Thun-Hohenstein Album
The first extensive study of the depiction of the armour in the Thun-Hohenstein Album against the vibrant artistic and cultural contexts that created it. In late medieval and early modern Europe, armour was more than a defensive technology for war or knightly sport. Its diverse types formed a complex visual language. Luxury armour was fitted precisely to a wearer's body, and its memorable details declared his status. Empty armour could evoke an owner's physical presence, prompting recollection of knightly personae, glittering pageantry, and impressive feats of arms. Its mnemonic power persisted long after the battle had ended, the trumpets had gone silent, and the dust had settled in the tou...
To Inspire and Instruct
This collection of essays, which derive from a symposium held at the Art Institute of Chicago in 2005, tells the story of how medieval art was collected by both individuals and institutions in the American Midwest. This book will appeal to both medievalists and scholars of nineteenth- and twentieth century American history. In addition, it will also appeal to scholars who are interested in museum studies and the history of collecting. The essays in the first section, “Collecting and Displaying Medieval Art,” consider the formation of medieval art collections at influential cultural institutions in three of the most important centers of industry and culture in the Midwest: Chicago, Detroi...
Arms and Armour
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William and Henry Walters, the Reticent Collectors
Surprisingly, the story of how William Walters and his son Henry created one of the finest privately assembled museums in the United States has not been told."--BOOK JACKET.
Does War Belong in Museums?
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate – and what images would be desirable?
