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xiv, 191 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm.
  • Table of Contents List of Illustrations Acknowledgments Introduction Opening the Space Between: Antebellum American Pendant Paintings Chapter 1 Putting the "Rip" in Rip Van Winkle: Historical Absence in John Quidor's Companion Paintings Chapter 2 Taking a Contemplative Look: Visual Devotion in Thomas Cole's Departure and Return Chapter 3 The Missing Pacific: The Expeditionary Blank in Titian Ramsay Peale's Kilauea Landscapes Epilogue After the Antebellum: Pendants during the Civil War and Postbellum Era Works Cited.
  • (source: Nielsen Book Data)9781472475589 20171106
Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor's Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole's Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale's Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.
(source: Nielsen Book Data)9781472475589 20171106
Art & Architecture Library (Bowes)
xv, 256 pages : illustrations (chiefly color) ; 25 cm.
Art & Architecture Library (Bowes)
xiv, 158 pages, 24 unnumbered pages of plates : illustrations (chiefly color) ; 24 cm
  • Illustrations Acknowledgements Introduction 1 The Enigma of the Visible 2 Spiritual Passion and the Betrayal of Painting 3 The Visible and the Legible 4 Flea Catching and the Vanity of Painting 5 Painting as Portal: "Birth" and "Death" of the Sacred Image Epilogue Notes Index Selected Bibliography.
  • (source: Nielsen Book Data)9780823277445 20171211
Not rediscovered until the twentieth century, the works of Georges de La Tour retain an aura of mystery. At first sight, his paintings suggest a veritable celebration of light and the visible world, but this is deceptive. The familiarity of visual experience blinds the beholder to a deeper understanding of the meanings associated with vision and the visible in the early modern period. By exploring the representations of light, vision, and the visible in La Tour's works, this interdisciplinary study examines the nature of painting and its artistic, religious, and philosophical implications. In the wake of iconoclastic outbreaks and consequent Catholic call for the revitalization of religious imagery, La Tour paints familiar objects of visible reality that also serve as emblems of an invisible, spiritual reality. Like the books in his paintings, asking to be read, La Tour's paintings ask not just to be seen as visual depictions but to be deciphered as instruments of insight. In figuring faith as spiritual passion and illumination, La Tour's paintings test the bounds of the pictorial image, attempting to depict what painting cannot ultimately show: words, hearing, time, movement, changes of heart. La Tour's emphasis on spiritual insight opens up broader artistic, philosophical, and conceptual reflections on the conditions of possibility of the pictorial medium. By scrutinizing what is seen and how, and by questioning the position of the beholder, his works revitalize critical discussion of the nature of painting and its engagements with the visible world.
(source: Nielsen Book Data)9780823277445 20171211
Art & Architecture Library (Bowes)
xiv, 298 pages : illustrations (some color) ; 30 cm
Art & Architecture Library (Bowes)
ix, 145 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm.
  • Contents List of Illustrations Preface Introduction: Life and Work 1 Before the Work 2 The Time of the Work 3 The Site In the Work 4 After the Work Conclusion Bibliography Index.
  • (source: Nielsen Book Data)9781472461315 20171204
The fifteenth-century Italian artist Piero della Francesca painted a familiar world. Roads wind through hilly landscapes, run past farms, sheds, barns, and villages. This is the world in which Piero lived. At the same time, Piero's paintings depict a world that is distant. The subjects of his pictures are often Christian and that means that their setting is the Holy Land, a place Piero had never visited. The Realism of Piero della Francesca studies this paradoxical aspect of Piero's art. It tells the story of an artist who could think of the local churches, palaces, and landscapes in and around his hometown of Sansepolcro as miraculously built replicas of the monuments of Jerusalem. Piero's application of perspective, to which he devoted a long treatise, was meant to convince his contemporaries that his paintings report on things that Piero actually observed. Piero's methodical way of painting seems to have offered no room for his own fantasy. His art looks deliberately style-less. This book uncovers a world in which painting needed to validate itself by cultivating the illusion that it reported on things observed instead of things imagined by the artist. Piero's painting claimed truth in a world of increasing uncertainties. Piero della Francesca tried to introduce a new idea of painting. Based on a methodical application of perspective, his work cultivated the illusion that it reported on things found rather than imagined. Piero's art marked an exception in fifteenth-century culture, with its emphasis on poetic inspiration and the artist's imagination.
(source: Nielsen Book Data)9781472461315 20171204
Art & Architecture Library (Bowes)
175 pages : illustrations (some color) ; 28 cm
Art & Architecture Library (Bowes)
viii, 184 pages, 14 unnumbered pages of plates : illustrations ; 23 cm
"Potok is blind but he makes us see not only the pre-World War Two landscape from which he and his family fled, but also how and why and at what price." --Jay Neugeboren, author of "Max Baer and the Star of David" and "Imagining Robert" "Potok explores the long reach of both his family's 1939 escape from Poland and his own blindness in this thoughtful and elegant memoir." --Elinor Langer, author of "Josephine Herbst" and "A Hundred Little Hitlers." When Andrew Potok was eight he fled with his family from Warsaw, leaving home and business to escape the invading Nazis. The family made it to American, but Andrew's memories of violence, Jew hatred, and betrayal--including that of his father--erupted into nightmares and eventually formed the backdrop of his rich, though at times turbulent, life as an artist and writer. When, late in Andrew's life, a Polish lawyer offers to help him reclaim property in Krakow that was wrongfully inherited by a relative, he and his wife revisit Poland, with its still-virulent anti-Semitism. The visit awakens long-dormant memories and provokes deep reflections on the nature of evil. The ongoing lawsuit becomes emblematic of the book's central theme: There can be no closure for survivors of the Holocaust--no justice for either victims or perpetrators, no compensation, and no forgiveness. Andrew Potok was a successful visual artist until he went blind in his forties. He then turned to writing and published "Ordinary Daylight, Portrait of An Artist Going Blind, " "My Life With Goya, " and "A Matter of Dignity." He lives in Vermont.
(source: Nielsen Book Data)9781942134305 20171023
Green Library
224 pages : color illustrations ; 31 cm.
SAL3 (off-campus storage)
191 pages : illustrations (chiefly color) ; 23 cm
SAL3 (off-campus storage)
308 pages : illustrations ; 24 cm.
Green Library
125 pages : illustrations (chiefly color) ; 24 cm
Art & Architecture Library (Bowes)
183 pages : color illustrations ; 23 x 28 cm
Albert Duvall Quigley spent most of his life painting the people and landscapes of the Monadnock region. A self-taught musician, he built and repaired fiddles, wrote dance tunes, and played at local dances. He also made frames known for their beautiful workmanship and originality, and prized by many Monadnock artists. This catalog has been compiled for an exhibition celebrating Quigley's life and work that will open at the Historical Society of Cheshire County (NH) in May 2017, and for the 250th anniversary celebration of the town of Nelson, NH, where Quigley lived for many years. 00Exhibition: The Historical Society of Cheshire County, Keene, USA (05.05.2017).
SAL3 (off-campus storage)
224 pages, 32 unnumbered pages of plates : illustrations (some color), map ; 25 cm
  • FOREWORD by John Halkes-- INTRODUCTION-- CHAPTER 1: EARLY LIFE AND MARRIAGE: VIENNA 1889-1922-- A troubled childhood-- On meeting Rosa-- An historical footnote-- CHAPTER 2: ARTISTIC DEVELOPMENT: VIENNA 1922-1938-- A rising star-- On becoming a sculptor-- First journey to England in 1935-- Reviews and commentary in the Viennese press-- CHAPTER 3: FLIGHT FROM VIENNA 1938: Nazi Germany and the Anschluss-- A Cornish Schindler-- On leaving Mollwaldplatz 3-- The fate of other members of the Reiss family-- CHAPTER 4: THE FIRST TEN YEARS IN ENGLAND: Arrival in England-- A new life in St Mawes-- The Cheltenham years-- CHAPTER 5: AND FINALLY TO MOUSEHOLE: The village of Mousehole-- Ruth Adams-- A tragic loss-- ARRA-- CHAPTER 6: PROVINCIAL EXHIBITIONS: REVIEWS AND COMMENTARY: Early reviews in England-- The view from the North-- Other commentary-- CHAPTER 7: THE ARTIST AND THE ART DEALER: REUSS'S RELATIONSHIP WITH JACQUES O'HANA: The introduction-- An unusual friendship-- The 1966 exhibition-- The later years-- The beginning of international recognition-- CHAPTER 8: THE LONDON EXHIBITIONS: REVIEWS AND COMMENTARY: The view from the South-- Other commentary-- CHAPTER 9: THE STRUGGLE TO SURVIVE: A display of brotherly love-- Compensation and restitution-- `My creative powers have been severely impaired'-- `Albert is not quite of sound mind'-- CHAPTER 10: ROSA: `The world should know of the great wife of an artist'-- Rosa's letters to Albert-- On matters of health-- CHAPTER 11: LIFE WITHOUT ROSA: The role of friends in Mousehole-- Albert's friendship with Dr Robert Senior-- Sylvio's visits-- A new friend in the art world-- CHAPTER 12: ALBERT'S ATTEMPTS TO SECURE HIS LEGACY: Correspondence with Dr Hans Aurenhammer-- Correspondence with Dr Ingo Mussi-- CHAPTER 13: ALBERT'S FINAL HURRAH-- EPILOGUE: THE ESTATE OF ALBERT REUSS-- APPENDIX 1: A NOTE ON TRANSLATION-- APPENDIX 2: LIST OF ALBERT REUSS'S EXHIBITIONS-- APPENDIX 3: REUSS'S WORKS IN PUBLIC COLLECTIONS-- APPENDIX 4: LIOBA REDDEKER: A TRIBUTE-- NOTES-- LIST OF FIGURES-- LIST OF ILLUSTRATIONS-- BIBLIOGRAPHY-- ACKNOWLEDGEMENTS-- CREDITS-- INDEX.
  • (source: Nielsen Book Data)9781911408161 20171218
This is the compelling account of the life and work of Albert Reuss (1889-1975), a Jewish painter and sculptor who developed a uniquely individual style. Born in Vienna, he emigrated to England in 1938 following Hitler's annexation of Austria. In the process, Reuss lost many members of his family, as well as all his possessions, and the reputation he had built up as an artist in Vienna prior to his departure. Many of his artworks were confiscated by the Nazis. He and his wife Rosa were helped to escape from Vienna by Cornishman and Quaker, John Sturge Stephens. Reuss continued to work as an artist in England, but his style changed dramatically, reflecting the trauma he had suffered. Following his exile, Reuss held numerous solo exhibitions in municipal galleries throughout England and in 1948, he and Rosa moved to Mousehole, Cornwall, where they established the ARRA Gallery. From 1953 to 1973 he held regular one-man shows at the renowned O'Hana Gallery in London. Several provincial galleries hold his work, most notably Newlyn Art Gallery in Cornwall, as do the British Museum and the Victoria and Albert Museum in London, the Belvedere Gallery and the Albertina in Vienna, and the Tel Aviv Museum of Art in Israel. In researching the life of this intriguing man, Susan Soyinka interviewed many people who knew him, and also retrieved a huge archive on Reuss from Vienna, which included much of his lifetime's correspondence. A most fascinating story emerged of this lonely and isolated artist's struggle to develop his art and to survive, a story full of human drama and tragedy, all set against the background of world historic events. The book includes first-hand accounts of the couple's escape from Vienna, and of their experience as refugees in war-time Britain.
(source: Nielsen Book Data)9781911408161 20171218
SAL3 (off-campus storage)
159 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
192 pages (2 folded) : illustrations (chiefly color) ; 33 cm
Green Library
456 pages : illustrations (chiefly color) ; 30 cm
  • Vorwort und Dank
  • Rekonstruktion einer Künstlerinnenbiografie
  • Die Familie und das Handelshaus von Berckholtz
  • Die Berckholtz-Stiftung in Karlsruhe
  • Alexandra von Berckholtz im Kontext des Porträts
  • Alexandra von Berckholtz im Kontext des Stilllebens
  • Skizzenbücher
  • Verschollene Werke
  • Künstlerische Lehrer
  • Franz Xaver Winterhalter
  • Richard Lauchert
  • Gesellschaftliches Netzwerk
  • Adel von Brasilien bis Russland
  • Karlsruher Künstlerinnen und Künstler
  • Richard Wagner und Malwine Schnorr von Carolsfeld
  • Künstlerinnen im 19. Jahrhundert
  • Marie Ellenrieder
  • Caroline Bardua
  • Dora Hitz
  • Katalog
  • Anhang
  • Alexandra von Berckholtz : Kurzbiografie
  • Werkverzeichnis
  • Quellen- und Literaturverzeichnis
  • Abbildungsnachweis
  • Personenregister
  • Zur Autorin.
SAL3 (off-campus storage)
127 pages : illustrations (chiefly color), facsimiles ; 28 cm
  • Un artiste russe à Montparnasse de Moscou à Paris (1889-1914) -- Alexandre Zinoviev et l'école de Paris -- La carrière russe d'Alexandre Zinoviev (1913-1917) -- Un soldat russe sur le front français Zinoviev de 1914 à 1918 -- Engagé volontaire, l'expérience de guerre à la légion étrangère -- L'ambulance russe, la mort mise à distance (1915-1916) -- Un soldat russe sur le front français (1916-1917) -- Zinoviev légionnaire en tournée aux Etats-Unis -- L'oeuvre de guerre -- L'espace et le temps dans l'oeuvre de guerre d'Alexandre Zinoviev -- Les pratiques artistiques d'Alexandre Zinoviev -- Horreur et rédemption dans l'oeuvre de guerre de Zinoviev -- Différentes versions, différentes visions -- Retrouver la paix une vie d'artiste parisien 1919-1977.
"Né en Russie en 1889, Alexandre Zinoview s'installe à Paris en 1908 au coeur du Montparnasse bohème, côtoyant Picasso, Foujita ou Diego Rivera. Il participe au bouillonnement artistique de l'époque, expose aux Salons, mais est aussi au service de la police secrète tsariste, pour qui il espionne les révolutionnaires russes en exil. Quand éclate la Première Guerre mondiale, Zinoview répond à l'appel de Blaise Cendrars et s'engage comme volontaire. Versé à la Légion étrangère, il part sur le front de Champagne, où il intègrera en 1915 l'Ambulance russe. Son séjour au Corps expéditionnaire russe (1916-1917) bascule avec la révolution en Russie et la mutinerie de La Courtine. Fin 1918, après de longs mois à l'hôpital, Zinoview part aux États-Unis avec une délégation de la Légion promouvoir le dernier emprunt de guerre.' L'armistice le trouve au Canada, angoissé par le retour à la vie civile alors que sa double vie d'agent a été révélée. Artiste éclectique dans ses inspirations, Zinoview s'empare de nombreuses techniques, utilise de multiples supports. Par son art de la composition et les postures de ses personnages, il fait de son expérience de la guerre un authentique théâtre un théâtre personnel où il met en scène sa vision de l'humanité et ses fantasmes, mais aussi le théâtre des opérations, des nationalismes et des passions politiques, celui des souffrances collectives, des émotions singulières et des destins individuels. Ce livre retrace pour la première fois ce destin hors norme et met en lumière un parcours artistique singulier."--Page 4 of cover.
SAL3 (off-campus storage)

18. Alexei Jawlensky [2017]

191 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
239 pages : illustrations (chiefly color) ; 31 cm + 1 errata leaf.
  • Grusswort / Reiner Haseloff
  • Grusswort / Philippe Etienne
  • Jawlensky, Rouault : une Rencontre Exceptionnelle : zum Geleit / Thomas Bauer-Friedrich
  • Alexej von Jawlensky, mein Grossvater / Angelica Jawlensky Bianconi
  • Alexej von Jawlensky : Biografie
  • Georges Rouault, unser Grossvater / Jean-Yves Rouault
  • Georges Rouault : Biografie
  • Katalog : Einführung
  • das "Echte Gesicht" der Ikone und das "Ähnliche Gesicht" / Hans Belting
  • Alexej von Jawlensky und Georges Rouault : Sehen mit Geschlossenen Augen / Angelika Affentranger-Kirchrath
  • Katalog : Alexej von Jawlensky
  • Paris 1905, 1910 München : Alexej von Jawlenskys Langer weg über Frankreich zu Sich Selbst und Seine Frühen Parallelen zu Georges Rouault / Roman Zieglgänsberger
  • Alexej von Jawlensky, Kunst ist eine Sehnsucht Nach Gott / Angelica Jawlensky Bianconi
  • Katalog : Georges Rouault
  • Gedanken zur Bedeutung des Religiösen im Werk von Georges Rouault / Stephan Dahme
  • Georges Rouault : Zeugnisse von Zeitzeugen
  • Andre Malraux
  • Maurice de Vlaminck
  • Maurice Brillant
  • Jean Wahl
  • Verzeichnis der Ausgestellten Werke
  • Literaturverzeichnis
  • Bildnachweis
  • Impressum.
SAL3 (off-campus storage)
400 pages : illustrations (chiefly color) ; 33 cm
"Alfredo Müller est né à Livourne en 1869 et mort à Paris en 1939. Sa peinture suit les méandres de sa vie, alternativement toscane et parisienne. Après avoir suivi l'enseignement du portraitiste florentin Michele Gordigiani, il découvre la peinture de Monet, avant de connaître Pissarro, Cézanne et Renoir à Paris, où Ambroise Vollard, puis Georges Thomas, Louis Libaude et Paul Rosenberg vendent ses toiles. Ces rencontres, mais aussi son expérience de graveur parisien, marquent sa peinture toscane ultérieure. Puisse le lecteur découvrir la cohérence et l'originalité de l'oeuvre d'un artiste hanté par ses thèmes de prédilection, la théâtralité de l'espace, l'harmonie des corps et de la nature, les faux-semblants dévoilés avec une feinte désinvolture par des masques mélancoliques de Commedia dell'Arte ! Trois ans après le catalogue raisonné de l'oeuvre graphique, ce second volume répertorie les cinq cent vingt peintures à l'huile, sur toile, sur bois, carton ou isorel dénombrées à ce jour. L'introduction des quinze chapitres en trois langues est complétée par le courrier et-la presse. Édition limitée numérotée. H. K."--Page 4 of cover.
Art & Architecture Library (Bowes)