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Book
xv, 185 pages : illustrations (some color) ; 26 cm.
  • Introduction : the critical fortunes of Italian Baroque painting in America / Edgar Peters Bowron
  • Italian Baroque paintings at the Ringling Museum : the legacy of John Ringling and Chick Austin / Virginia Brilliant
  • The Atheneum to the fore : Hartford and the Italian Baroque / Eric Zafran
  • The American view of the "forgotten century" of Italian painting : reminiscences of an art dealer and curator / Marco Grassi
  • An invisible web : art historians behind the collecting of Italian Baroque art / Richard Spear
  • Baroque in the Caribbean : Luis A. Ferré and the Museo de Arte de Ponce / Pablo Pérex d'Ors
  • Dealing and scholarship : The Heim Gallery, London, 1966-1995 / J. Patrice Marandel
  • The Detroit Institute of Arts and Italian Baroque paintings / Ian Kennedy
  • Walter P. Chrysler, Jr., and his collection of Italian Baroque paintings / Eric Zafran
  • Better late than never : collecting Baroque painting at the Metropolitan Museum of Art / Andrea Bayer.
"A collection of essays on the American collecting of Italian Baroque paintings in the nineteenth and twentieth centuries. Looks at the influence of art exhibitions and exhibition catalogues on the understanding and popularity of Italian Baroque art"--Provided by publisher.
Art & Architecture Library (Bowes)
Book
344 pages : illustrations (some color) ; 25 cm.
  • List of images, figures, and tables[-]Introduction[-][-]Part I: Publishing[-] 1580-1610: Window of Opportunity[-] 1610-1650: Buzz and Pipelines[-] 1650-1800: Mature Markets[-][-]Part II: Painting[-]1580-1610: Window of Opportunity[-] 1610-1650: Unlocking Potential[-] 1610-1650: Buzz and Pipelines[-] 1650-1800: Mature Markets[-][-]Conclusion[-][-]Appendix I[-][-][-]Bibliography[-][-][-]Index (people) [-][-].
  • (source: Nielsen Book Data)9789089647023 20170206
Dutch Golden Age - Economic History - Art Market - Publishing - Economic Geography.
(source: Nielsen Book Data)9789089647023 20170206
Art & Architecture Library (Bowes)

3. After Caravaggio [2016]

Book
ix, 221 pages : color illustrations ; 27 cm
  • Introduction
  • Singularities
  • Toward a post-Caravaggio pictorial poetics
  • An almost unknown masterpiece: Cecco del Caravaggio's 'Resurrection'
  • Guercino's anni mirabiles, 1619-1620
  • Coda: after 1630.
A revelatory study of a school of remarkable painters from one of the great art historians of the 20th century During the twenty years following Caravaggio's death, his revolutionary precedent inspired the creation of a remarkable body of paintings. Drawing together works by Bartolomeo Manfredi, Valentin de Boulogne, Nicolas Tournier, Nicolas Regnier, Cecco del Caravaggio, and the young Jusepe de Ribera, Michael Fried examines the nature of this later generation's engagement with Caravaggio. The magnitude and interest of their achievements have long been recognized, but existing scholarship has touched only the surface. Fried approaches his topic with seriousness and sophistication, revealing the density of meaning and sheer pictorial ambition in the works of the painters known as the Caravaggisti. Accessibly written, this beautifully illustrated book combines an account of works by Manfredi, Valentin, Tournier, Regnier, and Ribera with a detailed case study of Cecco del Caravaggio's Resurrection (1619-20), and concludes by surveying a group of paintings by Guercino, a painter not counted among the Caravaggisti, but whose strategies in relation to the viewer aligned him with their interests. Fried moves with agility between broad and focused fields of vision. In his final remarks, he makes a compelling case for understanding these paintings in relation to the thought of Rene Descartes.
(source: Nielsen Book Data)9780300218640 20160906
Art & Architecture Library (Bowes)

4. Beyond Caravaggio [2016]

Book
208 pages : color illustrations ; 29 cm
A fascinating examination of Caravaggio and others who adopted his dramatic style of painting The Italian painter known as Caravaggio (1571-1610) claims a place among the most revolutionary figures in the history of art. His intense naturalism, almost brutal realism, and dramatic use of light had a wide impact on European painters, including Orazio Gentileschi, Valentin de Boulogne, and Gerrit van Honthorst. Each of Caravaggio's followers absorbed something different from his work, propagating his stylistic legacy across Europe. In this extensively illustrated catalogue, Letizia Treves introduces the international Caravaggesque movement and traces the distinct artistic personalities of its leading players. Even now, Caravaggio's name overshadows the other talented artists who adopted his approach to narrative painting: the use of theatrical lighting to illuminate a story encapsulated in a single, dramatic moment. Treves explains the innovative and unifying features of these painters' work and how, despite resistance to their style and subject matter, many outstanding Caravaggesque pictures found their way into important collections.
(source: Nielsen Book Data)9781857096026 20161213
Art & Architecture Library (Bowes)
Book
222 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
184 pages : illustrations (some color) ; 29 cm + 1 audio disc (digital ; 4 3/4 in.) Sound: digital; 1.4 m/s.
Art & Architecture Library (Bowes)
Book
xv, 318 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
289 pages : illustrations (chiefly color) ; 29 cm.
Art & Architecture Library (Bowes)
Book
155 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
290 pages ; 24 cm
"In 1631, Sara de Vos is admitted as a master painter to the Guild of St. Luke's in Holland, the first woman to be so recognized. Three hundred years later, only one work attributed to de Vos is known to remain--a haunting winter scene, At the Edge of a Wood, which hangs over the bed of a wealthy descendant of the original owner. An Australian grad student, Ellie Shipley, struggling to stay afloat in New York, agrees to paint a forgery of the landscape, a decision that will haunt her. Because now, half a century later, she's curating an exhibit of female Dutch painters, and both versions threaten to arrive. As the three threads intersect, The Last Painting of Sara de Vos mesmerizes while it grapples with the demands of the artistic life, showing how the deceits of the past can forge the present."-- Provided by publisher.
Green Library
Book
395 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
223 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
xv, 574 pages : color illustrations ; 34 cm
Art & Architecture Library (Bowes)
Book
287 pages : illustrations (chiefly color) ; 29 cm
In his joint capacities of Premier peintre du roi, director of the Gobelins manufactory and rector of the Academie royale de peinture et de sculpture, Le Brun exercised a previously unprecedented influence on the production of the visual arts - so much so that some scholars have repeatedly described him as 'dictator' of the arts in France. The Sovereign Artist explores how Le Brun operated in his diverse fields of activities, linking and juxtaposing his portraiture, history painting and pictorial theory with his designs for architecture, tapestries, carpets and furniture. It argues that Le Brun sought to create a repeatable and easily recognizable visual language associated with Louis XIV, in order to translate the king's political claims for absolute power into a visual form. How he did this is discussed through a series of individual case studies ranging from Le Brun's lost equestrian portrait of Louis XIV, and his involvement in the Querelle du coloris at the Academie, to his scheme for 93 Savonnerie carpets for the Grande Galerie at the Louvre, his Histoire du roy tapestry series, his decoration of the now destroyed Escalier des Ambassadeurs at Versailles and the dramatic destruction of the Sun King's silver furniture. One key theme is the relation between the unity of the visual arts, to which Le Brun aspired, and the strong hierarchical distinctions he made between the liberal arts and the mechanical crafts: while his lectures at the Academie advocated a visual and conceptual unity in painting and architecture, they were also a means by which he attempted to secure the newly gained status of painting as a liberal art, and therefore to distinguish it from the mechanical crafts which he oversaw the production of at the Gobelins. His artistic and architectural aspirations were comparable to those of his Roman contemporary Gianlorenzo Bernini, summoned to Paris in 1665 to design the Louvre's East facade and to create a portrait bust of Louis XIV. Bernini's failure to convince the king and Colbert of his architectural scheme offered new opportunities for Le Brun and his French contemporaries to prove themselves capable of solving the architectural problems of the Louvre and to transform it into a palace appropriate "to the grandeur and the magnificence of the prince who [was] to inhabit it" (Jean-Baptiste Colbert to Nicolas Poussin in 1664). The comparison between Le Brun and Bernini not only illustrates how France sought artistic supremacy over Italy during the second half of the 17th century, but further helps to demonstrate how Le Brun himself wanted to be perceived: beyond acting as a translator of the king's artistic ambition, the artist appears to have sought his own sovereign authority over the visual arts.
(source: Nielsen Book Data)9781911300052 20170306
Art & Architecture Library (Bowes)
Book
207 pages : color illustrations ; 31 cm
Handsomely designed and produced, this stunning book highlights sensual paintings from the Spanish royal collections of the Museo Nacional del Prado, Madrid. Many of the featured artists were court painters under sovereigns whose tastes influenced the art world of the 16th and 17th centuries. This superb selection of twenty-eight paintings includes works by Jan Breughel, Guercino, Peter Paul Rubens, Titian, and Diego Velazquez. Included is Titian's Reclining Venus with Cupid and a Musician, probably painted by the artist for Charles V, and several works by Rubens, who painted a considerable number of works for the Spanish court. Informative catalogue entries accompany an essay by Javier Portus on the Spanish royal taste in collecting and the role of painting within European politics of the day and a contemporary response to understanding the nude in Renaissance and Baroque painting by Jill Burke.
(source: Nielsen Book Data)9780300218749 20161128
Art & Architecture Library (Bowes)
Book
184 pages : illustrations (chiefly color) ; 26 cm
  • 1 Introduction[-]What, how and why[-]Patrons and their wishes[-]Artists and their choices[-]Art historians and their problems [-]2 Large-scale paintings: how it began[-] The international standard[-]Dutch rebellion[-]3 Small-scale paintings: how it began [-] Collectibles from Italy and Antwerp [-] Dutch cabinet paintings: Lastman [-] Landscape or background?[-] Dutch cabinet paintings: Rembrandt, Lievens [-]4 Large-scale paintings: back to normal [-] For connoisseurs and clerics [-] In the periphery of the court [-] For citizens of substance [-]5 Large-scale paintings: baroque attempts [-] Rubens' religious and political propaganda[-] Light and dark and drama [-] Rembrandt's theatre of horrors [-]6 Small-scale paintings: beyond baroque [-] Rembrandt in the 'forties-- his followers [-] Three pupils [-] Some more pupils and followers[-]7 Monumental canvases for public buildings [-] Huis ten Bosch Palace [-] The drapers' hall of Leiden[-] The assembly hall of the States of Holland [-] Amsterdam's new town hall [-]8 Large-scale paintings: the second half of the century[-] Specialists and non-specialists [-] Monumental art for the private home [-] War and peace, justice and politics [-]9 Small-scale paintings: the last quarter of the century[-] Between history and genre painting [-]10 Exceptions[-] Four outsiders [-]11 Concluding remarks[-] The end?[-] Left out[-] The canon [-][-].
  • (source: Nielsen Book Data)9789462981478 20161114
Narrative painting [-]Style (mannerism, baroque, classicism)[-].
(source: Nielsen Book Data)9789462981478 20161114
SAL3 (off-campus storage)
Book
3 volumes : illustrations (some color) ; 32 cm
  • I. A-C
  • II. D-Pal
  • III. Pan-Z.
Art & Architecture Library (Bowes)
Book
230 pages : illustrations (some color) ; 27 cm.
  • Introduction[-]Chapter 1. Confronting the Heritage of the Golden Age: The Situation around Dutch Genre Painting 1680-1750[-]Chapter 2. Reproducing the Golden Age: Copies after Seventeenth-Century Dutch Genre Painting in the First Half of the Eighteenth Century[-]Chapter 3. Emulating the Golden Age: The Painter?s Choice of Motifs and Subject Matter in Dutch Genre Painting of the First Half of the Eighteenth Century[-]Chapter 4. Ennobling Daily Life: A Question of Refinement in Early Eighteenth-Century Dutch Genre Painting[-]Epilogue[-]Appendix[-]Catalogue: Painters 1680-1750 [-]Notes[-]Bibliography.
  • (source: Nielsen Book Data)9789089645685 20160618
Dutch, Art, Painting, Genre Painting, 17th-century, 18th-century.
(source: Nielsen Book Data)9789089645685 20160618
Art & Architecture Library (Bowes)
Book
127 pages : color illustrations ; 28 cm
Art & Architecture Library (Bowes)
Book
96 pages : illustrations (chiefly color) ; 18 x 19 cm
Italian Baroque painting is often discussed in terms of theatre and the creation of powerful visual spectacle through the dramatic use of light. Seventeenth-century painters pushed the limits of artistic expression to reshape the relationship between the illusionistic image and its audience with contrasting styles, new techniques, and by deploying extraordinary optical effects. Featuring some of Canada's foremost Baroque paintings, "Illuminations" examines how the functional and symbolic representation of light was the expression of a culture captivated by theatrical display. Set in the context of Italy's dynamic and international cultural capitals, "Illuminations" compares and contrasts religious, mythological, and popular imagery. Through a detailed examination of works by Nicolas Poussain, Luca Giordano, Orazio Gentileschi and Guido Reni amongst others, the book explores how 17th-century audiences were confronted with pictures that frequently broke conventions by manipulating the sources and meaning of light, while depicting all types of subjects; painters were able to transform light, controlling its role as a signifier of demeanour, emotion, or religious symbolism. The use of light coloured the historical legends and social mythologies of this extravagant world.
(source: Nielsen Book Data)9781907804571 20160618
SAL3 (off-campus storage)

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