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Book
xii, 253 pages : color illustrations ; 24 cm.
  • Acknowledgements vii Editorial Principles ix List of Illustrations x Introduction: Aims, Sources and Methodology 1 Part 1 Lomazzo and Milan 1 The Artist and the Traveller 17 2 Spaces and Institutions 37 3 Art and Grotesque 63 Part 2 Color, Perspective and Anatomy The Treatise: A Short Introduction 77 4 Lomazzo's Colors 85 5 Acutissima e La Prospettiva 128 6 The Study of the Body 174 General Conclusions 211 APPENDICES 1 Contract between Giovanni Paolo Lomazzo and Giulio Claro, Reggente in Milan, dated 1561 221 2 L'interogaciglion ch'o s'han da fa dar gran Scansciere pos ra gneregada a col ch'o vur intro in dra Vall de Bregn 223 3 Difinicione della tavola sopra detta 224 4 Straducc dra vall de Bregn 226 5 Inventory 24th January 1604, doc. B, notary Benedetto Coerezio, f. 20578 227 6 Inventory, 11th November 1611, Fondo Litta, carte 32 229 7 Libro III Del Colore (1584) 230 8 a. Paduan Manuscript (Merrifield, pp. 648-717), Ricette per fare ogni sorte di colori (Chap. I- De colori in generale, e di quali materie si componghino) 231 8 b. Lomazzo, IV chapter of III book of the Trattato, Quali siano le materie nelle quali si trovino i colori 231 Bibliography 233 Index of Names 250.
  • (source: Nielsen Book Data)9789004330252 20170117
Tramelli considers three main areas of Giovanni Paolo Lomazzo's studies: color, perspective and anatomy, investigating the types of theoretical and practical knowledge on these subjects conveyed in the Trattato dell'Arte della Pittura and how the context of Milan at the end of the sixteenth century shaped the material gathered in Lomazzo's books.
(source: Nielsen Book Data)9789004330252 20170117
Art & Architecture Library (Bowes)
Book
xviii, 211 pages, 24 unnumbered pages of plates : illustrations (some color), maps ; 26 cm
  • Table of Contents List of Illustrations Preface and Acknowledgements A Case Study Introduction Chapter 1 Iconographic origins as a devotional image * Pose and gesture * Standing posture * Extended arms * Cruciform composition * Flying or hovering pose * Gaze, expression and demeanor * Clothing * Mantle and veil * Classical literature, law and numismatics * Medieval liturgy, law and seals * Roman and Byzantine dress * Roman sculpture * Old Testament * Apocryphal early life of Mary * Relics of Mary's garments in Constantinople * Legends of visions * Armenian Cilicia * Cyprus * The Crusades * Bari * Venice * Veiling and unveiling the flesh of Christ * Prayers, sermons and hymns * Cloaks and charity in medieval hagiography * Brooch * Belt * Hairstyles, crowns and halos * Figures and objects * Angels and saints * Christ child * Stars and ships * Arrows * Vessels * Flowers and fruit * Furniture and architecture * Backgrounds and borders * Formal elements * Hieratic scale * Architectonic space * Implied light * Shapes of supports * Adoption by religious orders * The Cistercians * The Dominicans * The Franciscans * Related versions of Mary * Madonna del Soccorso * Madonna del Rosario * Madonna del Popolo Chapter 2 Virgin of Mercy as civic emblem for lay confraternities * Supplicants under the cloak * Lay confraternities and their emblems * Architectural relief sculpture * Gonfaloni * Invocation against the plague Chapter 3 Diffusion, regional styles, and adaptations * Italian Peninsula * The South * Central Italy * The North * Western Europe * France and England * Slovenia, Austria and Germany * Spain and Portugal * Ukraine and Russia Epilogue Selected Bibliography.
  • (source: Nielsen Book Data)9781472476500 20170206
Mater Misericordiae-Mother of Mercy-emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy-the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees-entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terracotta, stained glass, architectural relief sculpture, and processional banners.
(source: Nielsen Book Data)9781472476500 20170206
Art & Architecture Library (Bowes)
Book
xii, 182 pages, 32 unnumbered pages of plates : illustrations (some color) ; 26 cm
  • Contents: List of plates List of figures Acknowledgments Introduction 1 Classical and Early Christian precedents 2 Imago Christi 3 Parasites 4 Papal Rome 5 Exit the lame Coda Bibliography Index.
  • (source: Nielsen Book Data)9781472469786 20161003
The presence of the orthopedically impaired body in art is so pervasive that, paradoxically, it has failed to attract the attention of most art historians. In Picturing the Lame in Italian Art from Antiquity to the Modern Era, Livio Pestilli investigates the changing meaning that images of individuals with limited mobility acquired through the centuries. This study evinces that in distinct opposition to the practice of classical artists, who manifested a lack of interest in the subject of lameness since it was considered 'a defect or a deformity' and deformity a 'want of measure, which is always unsightly, ' their Early Christian counterparts depicted them profusely, because images of the miraculous healing of the lame became the reassuring sign of universal acceptance and the promise of a more equitable existence in this life or the next. In the Middle Ages, instead, when voluntary poverty came to be associated with the necessary condition of faithfulness to Christ, the indigent lame, along with others who were forced to beg for a living, became the image of the alter Christus. This view was to change in the Renaissance and Baroque periods, when, with the resurgence of classical and Pauline ideals that condemned the idle, representations of the orthopedically impaired became associated with swindlers, freeloaders and parasites. This fascinating story came basically to an end in the Eighteenth century when, with the revival of the Greek ideal of the Beautiful, the lame gradually left center stage to be relegated again to the margins of the visual arts.
(source: Nielsen Book Data)9781472469786 20161003
Art & Architecture Library (Bowes)
Book
xx, 274 pages : illustrations ; 25 cm
  • Contents: List of Illustrations List of Contributors Acknowledgments Introduction: 'Close up and Far Away' Tomas Macsotay Part I A Space for Encounters 1 Restoring and Making Sculpture in Eighteenth-Century Rome: A Shared Practice Chiara Piva 2 Promoting Sculpture in Eighteenth-Century Rome: Exhibitions, Art Criticism, Public Susanne Adina Meyer 3 Bringing Modern Rome to Chatsworth: The Formation of the 6th Duke of Devonshire's Sculpture Collection Alison Yarrington Part II Close to Canova 4 Truly Transnational? Sculpture Studios in Rome after the Restoration Christina Ferando 5 In the Shadow of the Star: Career Strategies of Sculptors in Rome in the Age of Canova (c.1780-1820) Daniella Gallo 6 Canova and his German Friends Johannes Myssok Part III Distance and Difference 7 Multiple Views, Contours and Sculptural Narration: Aesthetic Notions of Neoclassical Sculpture in and out of Rome Roland Kanz 8 Sculptor and Tourist: John Flaxman and His Italian Journals and Sketchbooks (1787-1794) Eckart Marchand 9 Struggle and the Memorial Relief: John Deare's Caesar Invading Britain Tomas Macsotay 10 The Sculptor, the Duke, and Queer Art Patronage: John Gibson's Mars Restrained by Cupid and Winckelmannian Aesthetics Roberto C. Ferrari Bibliography Index.
  • (source: Nielsen Book Data)9781472420350 20161018
The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention. Rome, Travel and the Sculpture Capital, c.1770-1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.
(source: Nielsen Book Data)9781472420350 20161018
Art & Architecture Library (Bowes)
Book
xii, 245 pages, 8 numbered pages of plates : illustrations (some color) ; 26 cm.
  • List of Figures viii Acknowledgements xi 1 Introduction: Sebastiano del Piombo as a historical construct 1 2 Rome: Coda Mundi 15 3 Filippo Sergardi: between Siena and the Empire 35 4 The dual loyalties of the Bishop of Vaison 63 5 Don Jeronimo de Vich: ambassador and art patron 95 6 Don Gonzalo Diez de Lerma: between Burgos and Rome 131 7 Francesco de los Cobos and Ferrante Gonzaga: the paradigm of Spain and Italy 164 Conclusion 193 Bibliography 201 Index 241.
  • (source: Nielsen Book Data)9781472466020 20161018
Sebastiano del Piombo (c.1485-1547) was a close associate and rival of the central artistic figures of the High Renaissance, notably Michelangelo and Raphael. After the death of Raphael and the departure of Michelangelo from Rome, Sebastiano became the dominant artistic personality in the city. Despite being one of most significant artistic figures of the period, he remains the last artist of major importance in the western canon about whom no recent work has been published in English. In this study, Piers Baker-Bates approaches Sebastiano's career through analysis of the patrons he attracted following his arrival at Rome. The first half of the book concentrates on Sebastiano's network of patrons, predominantly Italian, who had strong factional ties to the Imperial camp; the second half discusses Sebastiano's relationship with his principal Spanish patrons. Sebastiano is a leading example of a transcultural artist in the sixteenth century and his relationship with Spain was fundamental to the development of his career The author investigates the domination of Sebastiano's career by patrons who had geographically different origins, but who were all were members of a wider network of Imperial loyalties. Thus Baker-Bates removes Sebastiano from the shadow of his contemporaries, bringing him to life for the reader as an artistic personality in his own right. Baker-Bates' characterization of the Rome in which Sebastiano made his career differs from previous scholarly accounts, and he describes how Sebastiano was ideally suited to flourish in the environment he depicts. Sebastiano del Piombo and the World of Spanish Rome thus re-appraises not only Sebastiano's place in the canon of Renaissance art but, using him as a lens, also the cultural worlds of Early Modern Italy and Spain in which he operated.
(source: Nielsen Book Data)9781472466020 20161018
Art & Architecture Library (Bowes)
Book
171 pages : illustrations (chiefly color) ; 28 cm
"Au XVIIIe siècle, la stabilité politique et économique de la République sérénissime marque le dernier âge d'Or vénitien, auquel la conquête napoléonienne de 1797 mettra un terme. Cet ultime chapitre d'indépendance sera marqué par un déploiement inouï d'événements publics et privés. Les fêtes, bals costumés, célébrations; régates, concerts et opéras rythment la vie de la cité et attirent curieux ou amateurs venus de l'Europe entière. Loin d'être de simples divertissements, ces festivités participent à une véritable mise en scène de Venise et sont chargées, d'une réelle portée politique et religieuse. Scènes de carnaval, réceptions spectaculaires et apparats aussi inventifs qu'éphémères ont été immortalisés par de prestigieux artistes, tels Tiepolo, Guardi et Longhi; qui ont contribué à fixer durablement les attraits d'une Cité des Doges synonyme de jeux et de plaisirs."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
325 pages : color illustrations ; 32 cm
Art & Architecture Library (Bowes)
Book
505 pages, lvi pages of plates : illustrations (chiefly color), color maps, plans ; 25 cm.
  • Le palais Mancini et la constellation française de Rome -- Le palais Mancini et la géographie romaine -- Palazzo Mancini: storia ed evoluzione di un contesto urbano privilegiato -- Palazzo Mancini, culla della cultura romana e francese : 1660-1804 -- La constellation française -- Le palais de l'Académie de France à Rome : une vitrine du "bon goût" français dans la Rome pontificale -- Le palais Mancini et le palais De Carolis au temps de l'ambassade du cardinal de Bernis -- Un double foyer de rayonnement pour la Rome artistique française -- Un auditeur de Rote incommode: l'abbé de Canilliac -- Le mécène et le collectionneur -- L'institution et son fonctionnement -- Un atelier d'écriture au palais Mancini -- La politique des directeurs des Bâtiments du Roi et des directeurs de l'Académie de France à Rome -- An XVIIIe Century Pedagogic Turn -- Vleughels and the Refashioning of the French Roman Journey -- Proviseur ou Ambassadeur ? -- Jean-François de Troy directeur de l'Académie de France à Rome (1738-1752) -- "Remettre en vigueur les règlements négligés ou oubliés" -- La réforme de l'Académie de France à Rome en 1775 sous la conduite de Jean-Baptiste Marie Pierre -- La formation -- L'expérience de Rome dans les trois arts du dessin -- Raphaël au palais Mancini: les copies des pensionnaires (1725-1753) -- L'atelier des sculpteurs au palais Mancini -- Du palais Mancini aux chantiers d'architecture et d'embellissement L'application des modèles au progrès des arts (1750-1774) -- Sur quelques pensionnaires -- Le peintre Subleyras, pensionnaire au palais Mancini -- Edme Bouchardon (1698-1762) e la scena artistica romana -- Les inflexions de l'enseignement : l'ouverture aux petits genres -- "Le Sieur Vleughels fait fort bien de promener les élèves : ce serait un bon coup s'il pouvait leur donner le bon goût du paysage" -- L'Accademia di Francia a Roma net Settecento e il sua ruolo nell'affermazione della pittura paesaggio -- Le Costume de Rome dans la peinture destinée au Grand Tour -- Le rôle de l'Académie du palais Mancini -- L'Académie de France dans le carrefour de l'Europe -- L'Académie de France à Rome, les académies de province et les académies en Europe -- Étienne de La Vallée-Poussin (1735-1802) et les réseaux normands à Rome dans la seconde moitié du XVIIIe siècle -- Gli artisti dell'Académie royale di Tolosa e Roma (1775-1785) -- Artisti austriaci a Roma -- L'Andata, il ritorno e la mai nata Accademia -- Réseaux de sociabilité et enjeux commerciaux dans la Rome du Grand Tour -- Nikolaj B. Youssoupov dans le milieu artistique de Rome en 1784-1785 -- Giovanni Paolo Panini, i suoi rapporti con l'Accademia di palazzo Mancini ed il suo ruolo nel mercato dell'arte -- Les gens de lettres et les milieux artistiques.
"Palais et institution, cadre de l'événement et de la permanence, lieu où se matérialisent à la fois une doctrine et des pratiques, le Palazzo Mancini, siège de l'Académie de France à Rome de 1725 à 1792, est aussi un endroit extrêmement perméable: lieu de passage, d'échanges, de sociabilité, ouvert sur Rome, Paris et l'Europe. Les communications du colloque international, qui s'est tenu en avril 2010 à l'Académie de France à Rome, ont pour objet d'étudier le palais et l'institution qu'il abrite, son fonctionnement, ses acteurs, ses pratiques. Ces dernières sont analysées dans le but de connaître l'activité des artistes pensionnaires et indépendants au sein de l'Académie (travail et visites d'atelier, voyages d'étude...), mais aussi leurs relations, étroites ou distendues, avec la ville de Rome (institutions, cercles, botteghe d'une part, manifestations éphémères et récurrentes telles que fêtes et expositions de l'autre), et avec les milieux étrangers de la Ville. Enfin, elles envisagent la question du marché et du devenir des oeuvres, à travers la collaboration des artistes avec le foyer artistique romain, les relations avec les voyageurs du Grand Tour et leurs agents, et la diffusion des oeuvres en France et à l'étranger."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
210 pages : illustrations (chiefly color) ; 21 cm.
Art & Architecture Library (Bowes)
Book
271 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
153 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
455 pages : illustrations ; 24 cm.
Art & Architecture Library (Bowes)
Book
373 pages : illustrations (chiefly color), facsimiles, portraits ; 25 cm
The catalog of the Aldo Manutiu exhibition, 500 years after his death, is a tribute to the most famous printer in the history of publishing. It tells how the book changed the world and how and why this change happened in Venice, cosmopolitan city and gateway between East and West. But it is mainly a journey through the world of culture and the arts in Venice between the end of the fifteenth century and the start of the sixteenth, in a crucial period featuring major figures like the painters Bellini, Carpaccio, and the young Giorgione (with the debut of his pupil Titian), illustrious visiting foreign artists like Albrecht Durer, and intellectuals of European fame such as Erasmus of Rotterdam.
(source: Nielsen Book Data)9788831723800 20160823
Art & Architecture Library (Bowes)
Book
75 pages : illustrations (chiefly color) ; 33 cm
Art & Architecture Library (Bowes)
Book
207 pages : illustrations (some color) ; 25 cm
Art & Architecture Library (Bowes)
Book
224 pages : illustrations (some color) ; 25 cm
Beneath the original Venetian glass and rosewood case at La Specola in Florence lies Clemente Susini's Anatomical Venus (c. 1790), a perfect object whose luxuriously bizarre existence challenges belief. It - or, better, she - was conceived of as a means to teach human anatomy without need for constant dissection, which was messy, ethically fraught and subject to quick decay. This life-sized wax woman is adorned with glass eyes and human hair and can be dismembered into dozens of parts revealing, at the final remove, a beatific foetus curled in her womb. Sister models soon appeared throughout Europe, where they not only instructed the specialist students, but also delighted the general public. Deftly crafted dissectable female wax models and slashed beauties of the world's anatomy museums and fairgrounds of the 18th and 19th centuries take centre stage in this disquieting volume. Since their creation in late 18th-century Florence, these wax women have seduced, intrigued and amazed. Today, they also confound, troubling the edges of our neat categorical divides: life and death, science and art, body and soul, effigy and pedagogy, spectacle and education, kitsch and art. Incisive commentary and captivating imagery reveal the evolution of these enigmatic sculptures from wax effigy to fetish figure and the embodiment of the uncanny.
(source: Nielsen Book Data)9780500252185 20160906
Art & Architecture Library (Bowes)
Book
224 pages : illustrations (some color) ; 25 cm
Art & Architecture Library (Bowes)
Book
vii, 243 pages : illustrations (chiefly color), color map ; 28 cm
"This J. Paul Getty Museum collection catalogue presents sixty ancient terracottas in detail and provides a guide to the one thousand other ancient terracotta objects in the collection"--Provided by publisher.
(source: Nielsen Book Data)9781606064863 20161010
Art & Architecture Library (Bowes)
Book
158 pages : illustrations (chiefly color) ; 24 cm
Art & Architecture Library (Bowes)
Book
193 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)