60 pages : illustrations (some color) ; 21 cm
Accompanying a focused display at The Courtauld Gallery that will bring together for the first time Pieter Bruegel the Elder's only three known grisaille paintings - the Courtauld's Christ and the Woman Taken in Adultery (which is barred from travel), The Death of the Virgin from Upton House in Warwickshire (National Trust) and Three Soldiers from the Frick Collection in New York - this book will examine the sources, function and reception of these three exquisite masterpieces. The panels will be complemented by prints and contemporary replicas, as well by other independent grisailles in order to shed light on the development of this genre in Northern Europe. Despite his status as the seminal Netherlandish painter of the 16th century, Pieter Bruegel the Elder (c. 1525-1569) remains an elusive artist: fewer than forty paintings are ascribed to him. Of these, a dozen are cabinet-sized. These small-scale works offer key insights as they often bear a personal significance for the artist and were sometimes given as gifts to friends and patrons. Presenting these works together for the first time is not only an extraordinary and unprecedented opportunity but it will be extremely revealing, considering their unusual nature in both Bruegel's oeuvre and 16th-century art in general. Monochrome painting in shades of grey was a mainstay of Netherlandish art from the early 15th century, most often present on the wings of altarpieces and preparatory sketches for engravings. In contrast, Bruegel's panels constitute one of the earliest and rare examples of independent cabinet pictures in grisaille, created for private contemplation and enjoyment. This seemingly austere type of painting has often been imbued with religious or political significance. On a purely artistic level, it enabled the painter to showcase his skill by limiting his palette. The publication, which includes a technical investigation of the three panels, will provide the opportunity to reassess the practical aspects of the grisaille technique and the many ways in which this effect was achieved. Indeed, Bruegel's three monochromatic paintings display quite different techniques, raising the question of the painter's intent. This is the latest in the series of books accompanying critically acclaimed Courtauld Gallery displays, following on from Collecting Gauguin (2013), Antiquity Unleashed (2013), Richard Serra (2013), A Dialogue with Nature (2014), Bruegel to Freud (2014) and Jonathan Richardson (2015).
(source: Nielsen Book Data)9781907372940 20160619
Art & Architecture Library (Bowes)
536 pages : illustrations (chiefly color), color map ; 30 cm
Art & Architecture Library (Bowes)
xiii, 420 pages : illustrations (chiefly color) ; 29 cm
  • (source: Nielsen Book Data)9780197265840 20160619
This book is the first major essay volume in over a decade to focus on Tudor and Jacobean painting. Its interdisciplinary approach reflects the dynamic state of research in the field, utilising a range of methodologies in order to answer key art historical questions about the production and consumption of art in Britain in the 16th and early 17th century. The introduction sets the tone for the interdisciplinary approach that is taken throughout the volume .It brings together a discussion of the context for the production of painted images in Tudor and Jacobean England with a selection of technical images of twenty paintings that span the period and demonstrate the information that can be gained from material analysis of paintings. In further chapters, leading exponents of painting conservation and conservation science discuss the material practices of the period, using and explaining a range of analytical techniques, such as infrared reflectography and dendochronology. Questions of authorship and aspects of workshop practice are also discussed. As well as looking at specific artists and their studios, the authors take a broader view in order to capture information about the range of artistic production during the period, stretching from the production of medieval rood screens to the position of heraldic painters. The final section of the book addresses artistic patronage, from the commissioning of works by kings and courtiers, to the regional networks that developed during the period and the influence of a developing antiquarianism on the market for paintings. The book is lavishly illustrated in colour throughout, with reproductions of whole paintings and many details selected to amplify the text. It will be an essential source for those working in the fields of art history, conservation and material science, and of interest to lovers of British Tudor and Stuart painting.
(source: Nielsen Book Data)9780197265840 20160619
Art & Architecture Library (Bowes)
x, 452 pages, 30 pages of plates : illustrations (some color) ; 25 cm.
  • Vorwort der Reihenherausgeber
  • Dank der Herausgeber
  • Überlegungen zur frühen Genrekunst
  • Zur Einführung : Bauern, Bäder und Bordelle?, oder : Was soll uns die frühe Genremalerei sagen? / Jürgen Müller, Birgit Ulrike Münch
  • Die Welt als Bordell : Überlegungen zur Genremalerei Jan van Amstels / Jürgen Müller
  • Genremalerei im Theoriediskurs und die 'Schwingungsweiten' der Gattung mit Blick auf die 'Melkmeid' des Lucas van Leyden / Birgit Ulrike Münch
  • Der Niemand vor Bruegel / Christopher P. Heuer
  • Die frühe Genremalerei und ihr 'theologischer Gehalt'
  • Pro remedio animae : Works of Mercy as Therapeutic Genre / Mitchell B. Merback
  • Lucas van Leyden's 'Toothdrawer', 1523 : Passion play merchant scenes and the religious origins of quack depictions / M A Katritzky, Milton Keynes
  • Höfische versus städtische Räume der Genremalerei
  • Der Betrachter als Beute : das Genre der Jagdmotivik als christliche und politische Standortbestimmung in einem Holzschnitt Jörg Breus d.J. von 1535 / Wolf Seiter
  • Jagd im Bild : Kultur und Darstellung herrschaftlicher Jagdausübung im spätmittelalterlichen und frühneuzeitlichen Frankreich zwischen Prunk und Performanz / Maike Schmidt
  • Genremotive im mittelalterlichen Hausbuch : Aneignungen der Ikonographie von Kunst und Philosophie im burgundisch-deutschen Kunsttransfer / Ulrike Heinrichs
  • Alltägliches im Ereignis : Fremdes im Eigenen : Zigeunergenre bei Burgkmair, van Leyden und Bruegel / Peter Bell
  • Das Privathaus als Erlebnisraum : Wandmalerei und material culture der Genrekunst
  • Die Bedeutung des Themenkreises 'Haus' in der profanen Wandmalerei des Spätmittelalters für die Genese der Genremalerei / Harald Wolter-von dem Knesebeck
  • Bauer, Dirne, Fußknecht : zu Dürers frühen Genremotiven und der Kultur der Nürnberger Tafelaufsätze / Thomas Schauerte
  • "Ain ieder moerck mit vleysz hiebey" : Genremotive auf bemalten Tischplatten als pädagogisches Instrument / Justus Lange
  • Wahre Liebe versus Liebe als Ware : Sexualität und Geschlechterbeziehung zwischen Minne, Bad und Bordell
  • Konversationsstücke des 15. Jahrhunderts : Überlegungen zu einigen Minnegarten-Stichen um Meister E.S. vor dem Hintergrund literarischer Minnediskurse der Zeit / Stefan Matter
  • Das kunsttheoretische Bordell : Metamalerei bei Jan van Hemessen / Bertram Kaschek
  • Zwischen Obszönität und Ideal : Überlegungen zu zwei Badedarstellungen der Beham-Brüder / Jan-David Mentzel
  • Augenlust versus innere Schau : Verlockung und Verderbnis in lasziv-genrehaften Bildfindungen an der Schwelle zur Neuzeit / Barbara Katja Kemmer
  • Kurzbiografien
  • Orts- und Personenregister
  • Farbtafeln.
Art & Architecture Library (Bowes)
78 pages : illustrations (some color) ; 24 cm
Art & Architecture Library (Bowes)
125 pages, XX pages of plates : illustrations (chiefly color) ; 24 cm
Art & Architecture Library (Bowes)
xiv, 419 pages : illustrations (chiefly color) ; 29 cm.
Art & Architecture Library (Bowes)
152 p. : ill. (chiefly col.) ; 27 cm
Art & Architecture Library (Bowes)
191 p. : ill. (chiefly col.) ; 28 cm
Green Library

10. Hans Holbein [2014]

406 pages : ill. (some color) ; 22 cm
Hans Holbein the Younger (1497/8 - 1543), one of the most versatile and admired painters of the Northern Renaissance, trained under his father in Augsburg and then worked for leading patrons in Switzerland before settling in England as Court Painter to Henry viii. Holbein was a hugely ambitious artist, and even during his formative years in Lucerne and Basle designed jewellery, stained glass and woodcuts as well as paint major altarpieces and portraits. He also carried out several monumental decorative schemes for private houses and civic buildings. In all his commissions Holbein sought to rival the greatest masters of Germany and Italy - notably Durer and Mantegna - as well as Antiquity, and by the time of his visit to France in 1524 he was determined to secure a position as court painter. This, and the precarious situation he was finding himself in as a result of the Reformation's increasing hostility to religious works, drove him to England for good in 1532, where in addition to decorative schemes and Triumphs he both drew and painted numerous unrivalled likenesses of leading courtiers, merchants and diplomats, among which is his celebrated double portrait 'The Ambassadors'. This acclaimed, richly illustrated book by Oskar Batschmann and Pascal Griener - now available in a revised and expanded Second Edition - is a major advance in our understanding of Holbein's contribution to European art. The authors re-examine every aspect of a remarkable career, in which they take full account of the artistic and cultural influences that affected the artist and of his friendships with leading humanists such as Erasmus and Sir Thomas More, and cast fresh light on many hitherto vexing questions and misunderstandings.
(source: Nielsen Book Data)9781780231716 20160613
Art & Architecture Library (Bowes)

11. Paolo Veronese [2014]

351 pages : illustrations ; 34 cm
Here is a glorious survey of the work of Paolo Veronese (1528-1588), one of the most prolific and successful painters of the Italian late Renaissance. Together with Titian and Tintoretto, he is associated with some of the greatest Venetian art of the 16th century. Working in a dramatic Mannerist style early in his career, Veronese quickly gained a reputation for his dignified depictions of classical elegance and grandeur. Known for his enormous feast scenes, frescoes and ceiling paintings, Veronese refined the use of colour to enhance his illusionistic effects: he has been called the greatest colourist who ever lived. In Venice, Veroneses mural and ceiling decorations for the Church of San Sebastiano, the Doges Palace and the Marciana Library earned him early acclaim. His later work became sought more widely: Velazquez purchased two mythologies for the Spanish Royal Collection.
(source: Nielsen Book Data)9780500093832 20160614
Art & Architecture Library (Bowes)
xvi, 257 pages, 16 unnumbered pages of plates : illustrations ; 24 cm.
  • Contents: Preface-- Introduction-- The 'pregnant' Magdalene, bride of Christ: Rogier van der Weyden's Descent from the Cross-- The wise and foolish Magdalene: Rogier van der Weyden's Braque Triptych-- The engaging Magdalene: Quentin Massys' Mary Magdalene Opening her Jar-- The lovesick Magdalene: the Master of the Female Half-lengths and Jan van Hemessen's musical Magdalenes-- The melancholic Magdalene: Adriaen Isenbrant and the Master of the Female Half-lengths' landscape Magdalenes-- Conclusion-- Bibliography-- Index.
  • (source: Nielsen Book Data)9781472414953 20160614
Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint's widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists' and audiences' responses to increasing religious tensions, expanding art markets, and changing roles for women.Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene's multivalent nature. In some paintings, her gown's opening laces betray her wantonness yet simultaneously mark her as Christ's spiritually pregnant Bride; elsewhere 'undress' reconfirms her erotic nature while paradoxically marking her penitence; in still other works, exotic finery expresses her sanctity while celebrating Antwerp's textile industry. New image types arise, as when the saint appears as a lovesick musician playing a lute or as a melancholic contemplative, longing for Christ. Some depictions emphasize her intercessory role through innovative pictorial strategies that invite performative viewing or relate her to the mythological Pandora and Italian Renaissance Neoplatonism. Throughout, the Magdalene's ambiguities destabilize readings of her imagery while engaging audiences across a broad social and religious spectrum.
(source: Nielsen Book Data)9781472414953 20160614
Art & Architecture Library (Bowes)
367 p. : ill. (chiefly col.) ; 30 cm
In 1956, Palazzo Strozzi hosted the exhibition Pontormo and Early Florentine Mannerism, in which Pontormo's work was displayed alongside that of Rosso Fiorentino, Beccafumi and other adepts of the new and unconventional trend in painting. Almost sixty years later, Palazzo Strozzi has decided to hold an exhibition devoted to only two of that movement's leading lights, Pontormo and Rosso Fiordentino. They were both born in 1494, at the close of a century which had seen the collapse of a political balance that has guaranteed the prosperity and security of Florence and of Italy as a whole, and at the start of a troubled era of religious and political unrest that was to lead to a definitive alteration of the political balances among states, and to the loss of the harmony and balance in art that had been such a feature of the transition from the 15th to the 16th century. In exploring the work of the two greatest Florentine exponents of what 20th-century critics christened Mannerism, the exhibition, and this accompanying volume, aims to track the chronological development of the movement. With essays by Philippe Costamagna, Elizabeth Cropper, Carlo Falciani, Massimo Firpo, Tommaso Mozzati, Antonio Natali, Alessandro Nova, Massimiliano Rossi, and with entries by Grazia Badino, Andrea Baldinotti, Elena Capretti, Philippe Costamagna, Francesca De Luca, Carlo Falciani, Giovanni Maria Fara, David Franklin, Cristina Gelli, Antonio Geremicca, Giovanna Giusti, Sefy Hendler, Andrea Muzzi, Carol Plazzotta.
(source: Nielsen Book Data)9788874612161 20160614
SAL3 (off-campus storage)
58 pages : color illustrations ; 18 cm
Art & Architecture Library (Bowes)
179 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
2 volumes (856 pages) : illustrations (chiefly color), color maps ; 30 cm.
  • [v.1] Pages 1-424
  • [v.2] Pages 425-856.
The National Gallery, London possesses an important collection of paintings by 16th-century Netherlandish artists, including Joachim Beuckelaer, Hieronymus Bosch, Pieter Bruegel the Elder, Jean Gossart, and Quinten Massys. They are grouped here with a small number of French paintings, some by artists who came from the Low Countries (Corneille de Lyon, probably Jean Hey, and perhaps the Master of Saint Giles). Lorne Campbell's catalogue is a model of scholarship; he examined all the pictures with conservators and rigorously researched their histories, subjects, and styles. New discoveries about artists' techniques and practices have led to many reattributions, and the rescue from anonymity of over twenty paintings. The identities of several patrons are established or suggested, while an introductory essay explains how contemporaries regarded these paintings. Generously illustrated, with many details and technical photographs, and beautifully produced, this comprehensive catalogue is essential reading for scholars, while also introducing general readers to a vital part of the Gallery's collection.
(source: Nielsen Book Data)9781857093704 20160616
Art & Architecture Library (Bowes)
viii, 376 p. : ill. (some col.), ports. ; 30 cm
Paintings by Renaissance masters Lucas Cranach the Elder, Albrecht Durer, and Hans Holbein the Younger are among the works featured in this lavish volume, the first to comprehensively study the largest collection of early German paintings in America. These works, created in the 14th through 16th centuries in the region that comprises present-day Germany, Austria, and Switzerland, include religious images-such as Virgin and Child with Saint Anne by Durer and the double-sided altarpiece The Dormition of the Virgin by Hans Schaufelein-as well as remarkable portraits by Holbein and the iconic Judgment of Paris by Cranach. In all, more than 70 works are thoroughly discussed and analyzed, making this volume an incomparable resource for the study of this rich artistic period.
(source: Nielsen Book Data)9780300148978 20160612
Art & Architecture Library (Bowes)
218 p. : illustrations (some color) ; 27 cm.
  • Mannerism and imitation
  • Gigantum arrogantia: Raphael vs. Michelangelo in Perino del Vaga
  • Daniele da Volterra's contested subject
  • Pellegrino Tibaldi's Apologus Alcinoi
  • Painting and counter-reformation in the Poggi Chapel.
"Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.
Art & Architecture Library (Bowes)
130 p. : ill. ; 30 cm.
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, ...), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, ...)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the 'Beeldenstorm' and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors.
Art & Architecture Library (Bowes)
239 pages : color illustrations ; 28 cm
  • Modernità e meraviglia nell'arte dei Brueghel / Sergio Gaddi
  • La pittura floreale fiamminga / Doron J. Lurie
  • La dinastia dei Brueghel / Klaus Ertz
  • Dalle Fiandre all'Europa: un laboratorio pittorico / Giovanni C.F. Villa
  • Pieter Bruegel il Vecchio, un "secondo Bosch" / Masimiliaan P.J. Marents
  • Funzioni e obblighi della gilda / Nathalie Wiener
  • Il crogiuolo delle meraviglie: genialità e sintesi nell'Anversa di Pieter Brueghel il Vecchio / Massimiliano Caretto, Francesco Occhinegro
  • Connsoisseurship, l'analisi dei materiali dell'opera e l'attribuzione alle scuol del Nord / Jan De Maere
  • Catalogo
  • Disegni.
Art & Architecture Library (Bowes)

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