New Haven and London, 2007. Cm. , pp. ix-230, figg. 152 a col. n. t., cart. e sovrac.
Catalogo della mostra: Houston, Museum of Fine Arts, 2007-2008.
New Haven and London, 2001. In-8¡, pp. x-289, ill. 167 a col. e in nero n. t., tela e sovrac.
New Haven and London, 2015. Cm. 29x23, pp. 359, ill. 292 a col. e in nero n. t., cart. e sovrac.
Medieval prayer books held not only the devotions and meditations of Christianity, but also housed, slipped between pages, sundry notes, reminders, and ephemera, such as pilgrims’ badges, sworn oaths, and small painted images. Many of these last items have been classified as manuscript illumination, but Kathryn M. Rudy argues that these pictures should be called, instead, parchment paintings, similar to postcards. In a delightful study identifying this group of images for the first time, Rudy delineates how these objects functioned apart from the books in which they were kept. Whereas manuscript illuminations were designed to provide a visual narrative to accompany a book’s text, parchment paintings offered a kind of autonomous currency for exchange between individuals—people who longed for saturated color in a gray world of wood, stone, and earth. These small, colorful pictures offered a brilliant reprieve, and Rudy shows how these intriguing and previously unfamiliar images were traded and cherished, shedding light into the everyday life and relationships of those in the medieval Low Countries.
Around 1515, Raphael (1483-1520) designed a set of tapestries for Leo X, the first Medici pope. Each was sumptuously woven in gold, silver, and silk, and depicted scenes from classical mythology with inventive grotesques. Now lost, these spectacular, grand-scale textiles are reconstructed in Raphael’s Tapestries and set among a series of unprecedented decorative projects that Pope Leo commissioned from the artist. Likely produced by the Brussels weaver Pieter van Aelst, the tapestries pioneered a new all’antica style analogous with contemporary painted and sculpted interior programs. Tapestries played a central role at Leo’s court, as spectacle and as propaganda, and the Grotesques of Leo X would inform tapestry design for the next three centuries. Their beauty and complexity rivaled those of contemporary painting, and their luxurious materials made them highly prized. With this new study, the Grotesques take their rightful place as Renaissance masterworks and as documents of the fervent humanist culture of early 16th-century Rome.
New Haven and London, 2015. Cm. 26x21, pp. 260, figg. 135 a col. e in nero n. t., cart. e sovrac.
The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-François Raffaëlli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young’s highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.
New Haven and London, 2014. Cm. 27x23, pp. vii-353, figg. 181 a col. e in nero n. t., tela e sovrac.
The eighteenth-century rediscovery of the three archaic Greek Doric temples in Paestum in southern Italy turned existing ideas on classical architecture upside down. The porous limestone temples with rough, heavy columns were entirely unlike the classical architecture travellers to the site were familiar with Paestum, exceptional in the completeness of its ruins, came to fascinate architects, artists, writers and tourists, who documented the site in drawings and texts. In Rediscovering Architecture, Sigrid de Jong analyses extensive original source material - including letters, diaries, drawings, paintings, engravings and published texts, which are attractively reproduced here. The book offers new insights on the explorations of the site, the diverse reactions to it and their dramatic and enduring effect on architectural debates in England, France and Italy during the long eighteenth century. This unique study of the experience of architecture reconstructs Paestum's key role in the discourse on classical architecture and its historiography, primitivism, the sublime and the picturesque and the growing importance of science and history in architectural thought.
New Haven and London, 2013. Cm. 29x23, pp. xi-444, figg. 306 a col.e in nero n. t., cart. e sovrac.
The Dominican friars of late-medieval Italy were committed to a life of poverty, yet their churches contained many visual riches, as this groundbreaking study reveals. Works by supreme practitioners—Cimabue, Duccio, Giotto, and Simone Martini—are examined here in a wider Dominican context. The contents of major foundations—Siena, Pisa, Perugia, and Santa Maria Novella in Florence—are studied alongside less well-known centers. For the first time, these frescoes and panel paintings are brought together with illuminated choir books, carved crucifixes, goldsmith's work, tombs, and stained glass. At the heart of the book is the Dominicans' evolving relationship with the laity, expressed at first by the partitioning of their churches, and subsequently by the sharing of space, and the production and use of art. Joanna Cannon's magisterial study is informed by extensive new research, using chronicles, legislation, liturgy, sermons, and other sources to explore the place of art in the lives of the friars and the urban laity of Central Italy.
New Haven and London, 2015. Cm. 28x22, pp. ix-449, figg. 310 a col. e in nero n. t., cart. e sovrac.
In 1600 Rome was the center of the artistic world. This fascinating book offers a new look at the art and architecture of the great Baroque city at this time of major innovation—especially in painting, largely owing to the presence of Annibale Carracci (1560–1609) and Caravaggio (1571–1610). Rome was a magnet for artists and architects from all over Europe; they came to study the remains of antiquity and the works of Michelangelo, Raphael, and Bramante. The sheer variety of artists working in the city ensured a diversity of styles and innovative cross-influences. Moreover, 1600 was a Jubilee year, offering numerous opportunities for artistic patronage, whether in major projects like St. Peter’s, or in lesser schemes such as the restoration of older churches. Clare Robertson examines these developments as well as the patronage of the pope and of major Roman families, drawing on a range of contemporary sources and images to reconstruct a snapshot of Rome at this thrilling time.
New Haven and London, 1994. Cm. , pp.288, tavv.50 a col. e ill.150 in nero n.t., cart.
New Haven and London, 2015. Cm. 28x22, pp. 124, figg. 138 a col. e in nero n. t., br.
Catalogo della mostra: Yale, Peabody Museum of Natural History, 2015-2016.
Through artifacts from the Yale Peabody Museum of Natural History and other collections at Yale University, this lavishly illustrated volume takes readers on a journey into Japan’s early modern cultural and political history. It also offers tantalizing glimpses of medieval Japan and the technology underlying the material culture of the samurai. Some objects are dazzling aesthetic and technical feats: impossibly intricate lacquerware, swords as bright and sharp as the day they were forged, and glittering suits of armor from daimyo collections. Others are more unassuming, but equally capable of evoking visions of a lost world. Readers will encounter commoners alternately fearful of samurai violence and swept up in the romance of the cult of loyalty; artists and writers conjuring scenes of adventure and wit; families reaching out to departed kin across the chasm of death; parents deciding whether to raise or reject a newborn baby; underground Christians hiding their faith behind a Buddhist icon; and Japanese artifacts that take on new meanings in Ainu villages and the parlors of New England collectors.
This book covers some well-known facets of Japanese history, but also features cutting-edge research. Like the exhibition from which it emerges, it is designed to be engaging and accessible to the general public while offering experts new information and perspectives.
New Haven and London, 2000. 2 voll. in-4?, pp. vii-612 vii-629, figg. 28 in nero n. t. tavv. 136 a col. e figg. 1748 in nero n. t., tela e sovrac. in cof.
New Haven and London, 2001. Cm. , pp. 280, figg. a col. e in nero n. t., tela e sovrac.
Il volume raccoglie i contributi del convegno tenutosi a Washington nel 1998.
This far-ranging book presents the most recent research on small-scale bronze production of the Renaissance. The contributors to the volume--an international group of curators, art historians, and conservators--analyze the production and collecting of small bronze sculptures from the fifteenth through the early seventeenth century in both Italy and the North. They offer new assessments and attributions of these fascinating works of art, the result of an intense collaboration between artists and collectors.
The book sheds light on the origins of the “household” bronze in Florence around the middle of the fifteenth century and on the groundbreaking developments in North Italy that followed. It reexamines the contribution of Donatello and his immediate followers in the first stages of bronze production as well as proposing a number of new attributions. Among the book’s other topics are casting procedures, including a proposal for a method used by Donatello; the spread of technological and artistic advances from Italy into the Northern countries; the work and workshop practices of sculptors of North Italy; and the assembling of personalized collections of small bronzes by German, English, and American connoisseurs from the eighteenth century to our own.
New Haven and London, 2016. Cm. 30x21, pp. 207, tavv. e figg. a col. e in nero n. t., cart. e sovrac.
Catalogo della mostra: Williamstown, Clark Art Institute, 2016.
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 Velázquez. 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 Portús 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.
New Haven and London, 2015. Cm. 31x25, pp. ix-362, figg. a col. e in nero n. t., tela e sovrac.
Despite its comparatively small size—just over 370 items, dating mainly from the 18th century—the collection of British silver in the Hermitage is renowned for its variety and quality. Over the course of the 18th and 19th centuries, the introduction of European dining habits and Russian Anglophilia contributed to the acquisition of large quantities of British silver. Most of the pieces were functional rather than decorative, such as dinner or toilet services specially commissioned by members of the imperial family and the aristocracy.
Marking the 250th anniversary of the State Hermitage Museum, this catalogue offers a grand presentation of these glorious silver items, supported by new research and documents. In her introduction, Marina Lopato details the complexities of Russian and Hermitage history to set the scene for the objects. Sumptuous illustrations showcase the exceptional nature of the Hermitage’s British silver, most evident in four monumental wine coolers that are among the best known pieces of British silver anywhere in the world.
New Haven and London, 2008. Cm. 31x26, pp. xvii-503, tavv. e ill. a col. e in nero 549 n. t., tela e sovrac.
Il museo dell'Hermitage di San Pietroburgo vanta una straordinaria raccolta di pittura fiamminga del Seicento e del Settecento. Il presente volume ne presenta il catalogo ragionato, censendo e descrivendo, in brevi ma accurate schede critiche, l'insieme dei dipinti il cui numero complessivo ammonta a oltre cinquecento pezzi, in rappresentanza di centoquaranta artisti. Tra questi si annoverano assoluti capolavori di: Rubens, Van Dyck, Jordaens, Snyders and Teniers, acquisiti, insieme a molti altri, nei paesi di tutta Europa grazie all'intraprendenza dell'imperatrice Caterina II. Assai ricca l'appendice, comprendente i dati di provenienza di ogni singola opera, la bibliografia, l'indice dei soggetti dei dipinti e dei nomi, l'indice delle fonti letterarie e delle concordanze.
New Haven and London, 2014. Cm. 26x31, pp. 175, ill. a col. e in nero n. t., cart. e sovrac.
Catalogo della mostra tenutasi ad Atlanta nel 2013-2014.
The Tuileries Garden is a masterpiece of garden design and one of the world’s most iconic public art spaces. Designed for Louis XIV by landscape architect André Le Nôtre, it served the now-destroyed Tuileries Palace. It was opened to the public in 1667, becoming one of the first public gardens in Europe. The garden has always been a place for Parisians to convene, celebrate, and promenade, and art has played an important role throughout its history. Monumental sculptures give the garden the air of an outdoor museum, and the garden’s beautiful backdrop has inspired artists from Edouard Manet to André Kertész.
The Art of the Louvre’s Tuileries Garden brings together 100 works of art, including paintings and sculptures, as well as documentary photographs, prints, and models illuminating the garden’s rich history. Beautifully illustrated essays by leading scholars of art and garden studies highlight the significance of the Tuileries Garden to works of art from the past 300 years and reaffirm its importance to the history of landscape architecture.
New Haven and London, 2007. In-8¡, pp. ix-222, figg. 48 a col. e in nero n. t., tela e sovrac.
New Haven and London, 2013. Cm. 29x25, pp. xix-404, ill. 347 a col. e in nero n. t., cart. e sovrac.
This authoritative book is the most detailed account to date of the Arts and Crafts movement in Scotland. Arts and Crafts ideas appeared there from the 1860s, but not until after 1890 did they emerge from artistic circles and rise to popularity among the wider public. The heyday of the movement occurred between 1890 and 1914, a time when Scotland’s art schools energetically promoted new design and the Scottish Home Industries Association campaigned to revive rural crafts. Across the country the movement influenced the look of domestic and church buildings, as well as the stained glass, metalwork, textiles, and other furnishings that adorned them. Art schools, workshops, and associations helped shape the Arts and Crafts style, as did individuals such as Ann Macbeth, W. R. Lethaby, Robert Lorimer, M. H. Baillie Scott, Douglas Strachan, Phoebe Traquair, and James Cromar Watt, among other well-known and previously overlooked figures. These architects, artists, and designers together contributed to the expansion and evolution of the movement both within and beyond Scotland’s borders.
New Haven and London, 2016. Cm. 28x26, pp. 454, tavv. e figg. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra: Forth Worth, Kimbell Art Museum, 2016.
In France in the 17th century, the brothers Antoine (c. 1598–1648), Louis (c. 1600/1605–1648), and Mathieu (1607–1677) Le Nain painted images of everyday life for which they became posthumously famous. They are celebrated for their depictions of middle-class leisure activities, and particularly for their representations of peasant families, who gaze out at the viewer. The uncompromising naturalism of these compositions, along with their oddly suspended action, imparts a sense of dignity to their subjects.
Featuring more than sixty paintings highlighting the artists’ full range of production, including altarpieces, private devotional paintings, portraits, and the poignant images of peasants for which the brothers are best known, this generously illustrated volume presents new research concerning the authorship, dating, and meaning of the works by well-known scholars in the field. Also groundbreaking are the results of a technical study of the paintings, which constitutes a major contribution to the scholarship on the Le Nain brothers.
With: Cleire Barry, Emerson Bowyer, Elise Effmann Clifford, Don H. Johnson, Frédérique Lanoe, Nicolas Milovanovic, Alain Tallon and Colin B. Bailey and Pierre Rosenberg.