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10681
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Horses In Russian Art by Petrova
Edited by Yevgenia Petrova
Published by Palace Editions
ISBN No: 3935298102
Size: 10 x 12 ins
223pp 200 col. & 26 b&w illustrations
Available Now
Price: $70.00
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This is the first-ever monograph dedicated to the theme of horses in works of art from the collection of the Russian Museum in St Petersburg. Home to a rich and diverse collection, the museum has embraced the long relationship between man and horse, as well as all the leading themes and genres of equine art.
Generations of Russian artists have created an astounding variety of equine images. These works – encompassing painting, sculpture and graphic art – are stunning, lyrical representations of this noble animal. The gorgeous illustrations are accompanied by an introductory essay, as well as artists’ biographies.
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10679
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Picasso and the Invention of Cubism by Pepe Karmel
This work seeks to transform our understanding of Cubism, showing in detail how it emerged in Picasso's work of the years 1906-13, and tracing its roots in 19th-century philosophy and linguistics. Linking well-known paintings and sculptures to the hitherto-ignored drawings that accompanied them, Pepe Karmel demonstrates how Picasso's quest to depict the human body with greater solidity led, paradoxically, to its fragmentation; and how Picasso used the archaic model of stage space to free himself from conventional perspective, replacing the open window of Renaissance painting with a new projective space. Rejecting the usual distinction between "analytic" and "synthetic" Cubism, Karmel shows how Picasso's changing artistic goals were realized in the crystalline Cubism of 1907-09, the gridded Cubism of 1910-11, and the planar Cubism of 1912-13. In other chapters, Karmel discusses the empiricist philosophy championed by Hippolyte Taine, which encouraged the breakdown of painting into its abstract elements, and laid the groundwork for an art of mental association rather than naturalistic figuration. Similarly, contemporary philology provided the model for a visual language employing both metaphoric and metonymic (but not arbitrary) signs.
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10678
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Allan Houser, an American Master : (Chiricahua Apache, 1914-1994)
The art world's best-known Native American artist, the Chiricahua Apache sculptor and painter Allan Houser (1914-1994), was one of the towering figures of 20th-century art. His larger-than-life sculpture Sacred Rain Arrow welcomed athletes to the 2002 Winter Olympics; his powerfully moving bronze Offering of the Sacred Pipe, created for the U.S. Mission to the United Nations, has become a worldwide symbol of peace. In 1992 Houser (Haozous in his native language) became the first Native American to receive the country's highest art award, the National Medal of Arts.
This beautifully illustrated volume is the first art-historical treatment of Houser's entire career. The author, a noted historian of Native American art, discusses the artist's work in relation to his Apache origins and places it in the context of the art of the 20th century. Interest in this beloved artist will undoubtedly soar with the retrospective exhibition of Houser's work, one of two shows to inaugurate the Smithsonian's National Museum of the American Indian in September 2004.
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10676
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The Art of the World - 1894 / Columbian Exposition
THE ART OF THE WORLD – 1894 – Columbian Exposition
This is the Art of the world; Illustrated in the Paintings, Statuary, and Architecture of the World’s Columbian Exposition, Vol 2. This is a very large LEATHER-BOUND edition with gold gild edges and gold lettering. There are 110+ photogravures, typo gravures, and COLOR GRAVURES.
Also included are portraits of artists and a large section on sculpture and architecture. This volume measures 17" by 12 ½" and is in very good condition with wear to the bottom edges of the leather
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10656
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Edouard Vuillard
The illustrious career of Edouard Vuillard (1868-1940) spanned the fin de siècle and the first four decades of the twentieth century. During that time, the French painter, printmaker, and photographer created a large number of extraordinary works. This gorgeous book-the most comprehensive and authoritative study of Vuillard's art to date-presents some hundred works that reveal the full range of his renowned artistic abilities.
In a series of illustrated essays, the authors explore Vuillard's complex and diverse career, which began with his academic training in Paris in the late 1880s. By the early 1890s, Vuillard was painting the innovative and sensual Nabi paintings for which he is best known, characterized by complex patterns and vibrant colors. Vuillard was also beginning to paint provocative interiors and works associated with the avant-garde theater. The book concludes with an examination of Vuillard's sumptuous large-scale decorations, luminous landscapes, and elegant portraits from the last decades of his career as well as a substantial selection of his pastels and prints, in addition to his photographs, many of which have never before been published.
This book is the catalogue for an exhibition on view at the National Gallery of Art, Washington, D.C., from January 19 to April 20, 2003, which then travels to the Museum of Fine Arts, Montreal (May 15 to August 24, 2003); the Galeries Nationales du Grand Palais, Paris (September 23, 2003 to January 4, 2004); and the Royal Academy of Arts, London (January 27 to April 27, 2004).
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10655
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Georgia O'Keefe Catalogue Raisonne
This two-volume slipcased catalogue raisonn_ presents in color more than 2,000 works by Georgia O`Keeffe, an artist whose creations placed her at the center of the ferment in early twentieth-century American art. The catalogue`s paintings, drawings, watercolors, and sculpture display O`Keeffe`s innovative use of color and form and testify to her distinctive contribution to American modernism.
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19654
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Painting in Renaissance Florence 1500-1550 by David Franklin
This outstanding book overturns longstanding assumptions about the way art evolved in Renaissance Florence. David Franklin challenges the reliability and usefulness of the terms "High Renaissance" and "Mannerism," which have been used commonly to describe and define the extraordinary paintings of the Florentine Renaissance. Franklin offers instead a new perspective on the progress and development of art in Florence, structuring his discussion around the lives and works of twelve influential Italian painters of the era. The book provides a detailed account of the critical period from about 1500, when Leonardo returned to Florence, to the publication in 1550 of Vasari's first edition of the Lives of the Artists. With penetrating analyses of careers, influences, and specific paintings, Franklin isolates two main strands in Renaissance Florentine painting. He brings to light the passionate rivalry between a deeply localized attitude toward art exemplified by Michelangelo and Leonardo and climaxing in the work of Pontormo, and a style influenced by the Roman art of Raphael that Vasari tried with some success to import into Florence. For the former group, life drawing and expressive human form were at the heart of their enterprise, while for the latter it was superficial narrative arranged for decorative effect. Franklin's unprecedented examination of Vasari's work as a painter in relation to his vastly better-known writings fully illuminates these dual strands in Florentine art and offers us a clearer understanding of sixteenth- century painting in Florence than ever before. The volume focuses on twelve painters: Perugino, Leonardo da Vinci, Piero di Cosimo, Michelangelo, Fra Bartolomeo, Ridolfo Ghirlandaio, Andrea del Sarto, Franciabigio, Rosso Fiorentino, Jacopo da Pontormo, Francesco Salviati, and Giorgio Vasari.
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10652
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John Singer Sargent The Later Portraits - Vol. 3 by R. Ormond & E. Kilmurra
This sumptuous book is the third volume of the definitive catalogue raisonnŽ of the work of the American painter John Singer Sargent (1856-1925). Comprising over two hundred portraits and portrait sketches in oil and watercolor painted between 1900 and the artist's death in 1925, this book completes the trilogy of portrait volumes. The catalogued works have been grouped into two chronological sections, each with an introduction that sets the particular group in context. There is also a section of undated portraits and an appendix listing previously unrecorded works. Each work is documented in depth: entries include traditional data about the painting or watercolor; details of the work's provenance, exhibition history, and bibliography; a short biography of the sitter; a discussion of the circumstances in which the work was created; and a critical discussion of its subject matter, style, and significance in Sargent's career. Most of the works are reproduced in color. There is also an illustrated inventory of Sargent's studio props and accessories and a cross-referenced checklist of the portraits in which they appear.
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10653
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John Singer Sargent Portraits of the 1890 by R. Ormond & E. Kilmurray
This gorgeous book is the second volume of the definitive catalogue raisonné of the work of the American painter John Singer Sargent (1856-1925). It comprises over onehundred and fifty formal portraits and portrait sketches in oil and watercolor that he painted between 1889 and 1900. The catalogued works have been grouped into chronological sections, each with its own introduction to set the particular group in context. In addition, an overall introduction places Sargent in the context of European portraiture of the past and of his own time.
Each work is documented in depth: entries include traditional data about the painting or watercolor; details of the work's provenance, exhibition history and bibliography; a short biography of the sitter; a discussion of the circumstances in which the work was created; and a critical discussion of its subject matter, style, and significance in Sargent's career. With very few exceptions, all the works are reproduced in color. There is also an illustrated inventory of Sargent's studio props and accessories and a cross-referenced checklist of the portraits in which they appear.
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10651
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John Singer Sargent - The Early Portraits by R. Ormond & E. Kilmurray
This magnificent book is the first volume of the definitive catalogue raisonn_ of the works in oil, watercolor, and pastel of the beloved painter John Singer Sargent. This volume catalogues portraits by Sargent from 1874, when he began his training in Paris, and covers pictures painted while he was establishing his reputation in Paris, during his early years in England, and on his first professional visit to America in 1887.
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10650
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A View of Delft - Vermeer and His Contemporaries by W. Liedtke
This book is a collection of writings on aspects of painting in Delft during the period 1650–1675. Walter Liedtke, highly respected curator and scholar of Dutch and Flemish art, discusses at length the work of four artists: Carel Fabritius, Gerard Houckgeest, Pieter de Hooch, and Johannes Vermeer. Liedtke considers recent interpretations and research on these artists' works, exploring in particular the relationship between style and observation in their paintings. The book begins by examining the question of whether such a community or tradition as the "Delft School" ever existed and by reviewing earlier opinions on the matter. The second chapter is devoted to Fabritius's small townscape A View in Delft, its reconstruction as an illusionistic image originally mounted in a perspective box, and the painting's significance in the narrow and in the broadest sense. In the third chapter, Leidtke focuses on a specialized genre in Delft--views of actual church interiors--and offers another explanation of how naturalistic paintings, even those that carefully record existing sites, inevitably depend upon pictorial precedents. The fourth chapter on De Hooch and the "South Holland" tradition of genre painting prepares the way for the fifth, a look at Vermeer's early work. In the final chapter, the author considers Vermeer's work as a mature artist, one who has completely mastered his means.
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10649
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Art and the Empire City New York, 1825-1861 K. Voorsanger
Book Description
Between the completion of the Erie Canal and the outbreak of the Civil War, New York City grew to become an economic and cultural center of international importance. This magnificent book discusses the proliferation of the visual arts during this exciting era as well as the development of an increasingly sophisticated New York audience for these arts. The book is lavishly illustrated with hundreds reproductions of works from the period. This book accompanies an exhibition that opens at The Metropolitan Museum of Art on 11 September 2000 and ends 7 January 2001.
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10646
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Tilman Riemenschneider, c. 1640-1531 - by Julien Chapuis
One of the greatest sculptors of the later Middle Ages, Tilman Riemenschneider (c. 1460-1531) struck a rare balance between formal elegance and expressive strength. His sculpture is noted for such innovative qualities as the acknowledgment of the viewer's mobility, an exquisite finish, and the occasional abandonment of polychromy (painted and gilded decoration). While anchored in the late Gothic tradition, Riemenschneider's work also reflects the emerging humanist concerns of the period. In this generously illustrated book, historians, art historians, and conservators from the United States, Germany, and Austria discuss Riemenschneider's art from various perspectives, addressing such issues as attribution, pictorial rhetoric, surface treatment, and critical reception. As the companion volume to the catalogue of the exhibition on the sculptor held in Washington and New York in 1999 and 2000, this book sheds light not only on a master sculptor whose work is admired today as among the most appealing of his era, but also on the art and culture of the late Middle Ages and Central Europe.
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10643
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Husbands, Wives, and Lovers - Marriage and its Discontents in the 19th Cent
Yale University Press - Written by Patricia Mainardi. 2003 Edition.
In this lively, interdisciplinary exploration of the cultural and social history of early nineteenth-century France, art historian Patricia Mainardi focuses on what was considered a major social problem of the time-adultery. In a period when expectations about marriage were changing, the problems of husbands, wives, and lovers became a major theme in theater, literature, and the visual arts. The author demonstrates that this intense interest was historically grounded in the post-Revolutionary collision between the new concept of the individual's right to happiness and the traditional prerogatives of family and state. The book examines the questions that permeated French culture and society: Is duty or happiness more important? Are arranged marriages doomed to be empty of love and poisoned by adultery? Should adulterous wives and their lovers be punished while husbands may commit adultery with impunity? Out of such legal, social, and cultural debates ultimately emerged modern bourgeois family values, Mainardi argues. And she illuminates how art, in all its varieties, both influences and is influenced by social change.
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10642
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Manet Manette by Carol Armstrong
Manet, a founding father of modernism, is one of the towering figures of nineteenth-century art. In this absorbing book, Carol Armstrong looks closely at Manet's works to uncover a novel and compelling view not only of the artist but also of modernity itself. As she places his art within frameworks of color, the feminine Other (the "Manette" in "Manet"), and consumerism, Armstrong greatly expands and revises our understanding of this artist as a painter of modern life.
Surveying most of Manet's diverse output, the book addresses along the way his methods of self-presentation, his exhibition strategies, the relation of his etchings and paintings, the significance of his relationships with the model Victorine Meurent and the painter Berthe Morisot, the painterly construction of identity and gender difference, and much more. At the same time, the book considers contemporary writings by Baudelaire, Zola, the Goncourts, and others who dealt with issues relating to artistic identity and modernity, painting, the model, and femininity. Armstrong concludes that Manet's work demonstrates consistent preoccupations with defining and contradicting his own signature style of painting and with the gendering of costume, color, and the making of his art. These preoccupations, she shows, suggest a new understanding of Manet's oeuvre.
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