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After Caravaggio.

0300218640

New Haven and London, 2016. Cm. 26x20, pp. x-221, ill. 150 a col. n. t., tela e sovrac.

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 Régnier, 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 René Descartes.

 

 

£46.87
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Amazing Rare Things. The Art of Natural History in the Age of Discovery.

0300215724

New Haven and London, 2015. Cm. 24x19, pp. 223, tavv. 88 e figg. 43 a col. n. t., br.

From the fifteenth century onwards, as European explorers sailed forth on grand voyages of discovery, their encounters with exotic plants and animals fanned intense scientific interest. Scholars began to examine nature with fresh eyes, and pioneering artists transformed the way nature was seen and understood. In Amazing Rare Things, renowned naturalist and documentary-maker David Attenborough joins with expert colleagues to explore how artists portrayed the natural world during this era of burgeoning scientific interest. The book focuses on an exquisite selection of natural history drawings and watercolors by Leonardo da Vinci, Alexander Marshal, Maria Sibylla Merian, and Mark Catesby, and from the collection of Cassiano dal Pozzo—works all held in the Royal Library at Windsor Castle. Attenborough and his coauthors offer lucid commentary on topics ranging from the 30,000-year history of human drawings of the natural world, to Leonardo’s fascination with natural processes, to Catesby’s groundbreaking studies that introduced Europeans to the plants and animals of North America. With 160 full color illustrations, this beautiful book will appeal to readers with interests that extend from art and science to history and nature.

 

 

£22.53
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America after the Fall. Painting in the 1930s. Edited by Judith A. Barter.

0300214857

New Haven and London, 2016. Cm. 31x25, pp. 201, tavv. e figg. a col. e in nero n. t., cart. e sovrac.

Catalogo della mostra: Chicago, The Art Institute, 2016.

Through 50 masterpieces of painting, this fascinating catalogue chronicles the turbulent economic, political, and aesthetic climate of the 1930s. This decade was a supremely creative period in the United States, as the nation’s artists, novelists, and critics struggled through the Great Depression seeking to define modern American art. In the process, many painters challenged and reworked the meanings and forms of modernism, reaching no simple consensus. This period was also marked by an astounding diversity of work as artists sought styles—ranging from abstraction to Regionalism to Surrealism—that allowed them to engage with issues such as populism, labor, social protest, and to employ an urban and rural iconography including machines, factories, and farms.
Seminal works by Edward Hopper, Grant Wood, Thomas Hart Benton, Georgia O’Keeffe, Aaron Douglas, Charles Sheeler, Stuart Davis, and others show such attempts to capture the American character. These groundbreaking paintings, highlighting the relationship between art and national experience, demonstrate how creativity, experimentation, and revolutionary vision flourished during a time of great uncertainty.

With essays by: Judith A. Barter, Sarah L. Burns, Teresa A. Carbone, Annelise K. Madsen, and Sarah Kelly Oehler.

 

£49.57
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Andy Warhol, Ai Weiwei. Edited by Max Delany and Eric Shiner.

0300219357

New Haven and London, 2015. Cm. 28x22, pp. xvi-311, tavv. e ill. a col. e in nero n. t., tela.

Catalogo della mostra: Melbourne, National Gallery of Victoria, 2015.

Andy Warhol (1928–1987) and Ai Weiwei (b. 1957) are two of the most internationally renowned artists of the past 100 years, famous not only for their artwork but also for influencing the culture of their time. This exciting book is the first to consider the work of these artists alongside one another, in dialogue and in correspondence, to explore the artists’ meticulous observations of modern and contemporary art, life, and politics. Andy Warhol’s investigation of consumer society, fame, and celebrity offers thought-provoking points of connection with Ai Weiwei’s interrogation of the relationship between tradition and modernity, the role of the individual to the state, questions of human rights, and the value of freedom of expression. Parallels also exist between the ways in which each artist transformed the understanding of artistic value and studio production, and redefined the role of the artist—as impresario, cultural producer, activist, and brand.
Alongside beautifully reproduced images by both artists—including works by Ai Weiwei published here for the first time—are illuminating essays by an international team of art experts, curators, and scholars that survey the scope of the artists’ careers and interpret the significant impact of Andy Warhol and Ai Weiwei on modern art and contemporary life. This deluxe, collectible catalogue is available in three different, limited-edition colors.

 

£64.89
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Apethorpe. The Story of an English Country House. Edited by Kathryn A. Morrison.

0300148701

New Haven and London, 2016. Cm. 30x25, pp. xiii-484, tavv. e ill. 486 a col. e in nero n. t., tela e sovrac.

This beautiful publication narrates the romantic biography of an architecturally significant country residence and its rescue from decline. Dating from the mid-15th century, Apethorpe in Northamptonshire was home to a succession of leading courtiers and politicians. At the command of King James I, the house was refurbished with a richly decorated state apartment. The suite, with its series of rare plaster ceilings and carved chimneypieces, unquestionably ranks as one of the finest—and least known—in Britain. In 2004, English Heritage rescued the house from ruin and has since restored it to much of its glory.
This book places Apethorpe in its wider historical and architectural context, comparing it with other Tudor and Jacobean houses. It sheds new light on the furnishing, decoration, and circulation patterns of state suites in country homes. Written by architectural and archeological experts from Historic England, this monograph, the first on Apethorpe, is illustrated with new and historical photographs, paintings, maps, engravings, and specially commissioned interpretive drawings that reveal how the house looked at key moments in its history.

 

£85.62
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Art and Love in Renaissance Italy. Edited by Andrea Bayer.

0300124118

New Haven and London, 2008. Cm. , pp. xv-376, tavv. e ill. a col. e in nero n. t., tela e sovrac.

Catalogo della mostra: New York, The Metropolitan Museum of Art, 2008-2009.

Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian.
Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.
Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.
Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.

Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.

 

Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian.

Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.

 

Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian.

£67.60
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Art of Empire. The Roman Frescoes and Imperial Cult Chamber in Luxor Temple. Edited by Michael Jones and Susanna McFadden.

0300169126

New Haven and London, 2015. Cm. 31x25, pp. xi-227, figg. 97 a col. e 54 in nero n. t., tela e sovrac.

The Luxor Temple of Amun-Re, built to commemorate the divine power of the pharaohs, is one of the iconic monuments of New Kingdom Egypt. In the 4th century C.E., the Roman Imperial government, capitalizing on the site’s earlier significance, converted the temple into a military camp and constructed a lavishly painted cult chamber dedicated to the four emperors of the Tetrarchy. These frescoes provide fascinating insight into the political landscape of the late Roman Empire and, as the only surviving wall paintings from the tetrarchic period, into the history of Roman art. The culmination of a groundbreaking conservation project, this volume brings together scholars across disciplines for a comprehensive look at the frescoes and their architectural, archaeological, and historical contexts. More than 150 stunning illustrations present the paintings for the first time in their newly conserved state, along with a selection of 19th-century documentary watercolors. This remarkable publication illustrates how physical context, iconography, and style were used to convey ideology throughout Rome’s provinces.

£55.88
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Art of the American Frontier. From the Buffalo Bill Center of the West. Foreword by Peter H. Hassrick.

0300197389

New Haven and London, 2013. Cm. 26x31, pp. 174, ill. a col. e in nero n. t., cart. e sovrac.

Catalogo della mostra: Atlanta, High Museum of Art, 2013-2014.

The visual history of the American West calls to mind iconic artworks and nostalgia for the past. Art of the American Frontier presents more than 300 artworks and artifacts from 1830 to 1930, alongside a group of contemporary Western works, showcasing the premier collections of the Buffalo Bill Center of the West. The complicated history of westward expansion is presented through the iconography of the frontier, spanning Plains Indian materials, government survey photographs, and paintings by early artist-explorers. In the 20th century, a growing romance with the West is evident in the theatrics of Buffalo Bill Cody and his Wild West show, with its blend of popular culture and history that inspired numerous artists.
The dialogue between the historical West and the nostalgia for it can be seen in highlights including Timothy O’Sullivan’s government survey photographs, Frederic Remington’s rare Impressionist landscape studies, and charming wax sculptures by Charles Russell. Featuring three essays and ten brief expositions on a range of art, culture, and history topics, this generously illustrated catalogue provides a comprehensive overview of more than 100 years of art from the American West.

 

£34.25
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Artemisia Gentileschi. The Language of Painting.

0300185119

New Haven and London, 2015. Cm. 26x21, pp. x-236, figg. a col. e in nero n. t., cart. e sovrac.

This beautifully illustrated and elegantly written book provides a revolutionary look at Artemisia Gentileschi's (1593-ca.1656) later career, refuting longstanding assumptions about the artist. The fact that she was semi-illiterate has erroneously led scholars to assume a lack of literary and cultural education on her part. Stressing the importance of orality in Baroque culture and in Artemisia's paintings, Locker argues for her important place in the cultural dialogue of the seventeenth century.

£46.87
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Arts & Crafts. Stained Glass.

0300209709

New Haven and London, 2015. Cm. 29x25, pp. 354, figg. 269 a col. e in nero n. t., cart. e sovrac.

Beautifully illustrated and based on more than three decades of research, Arts & Crafts Stained Glass is the first study of how the late-19th-century Arts and Crafts Movement transformed the aesthetics and production of stained glass in Britain and America. A progressive school of artists, committed to direct involvement both in making and designing windows, emerged in the 1880s and 1890s, reinventing stained glass as a modern, expressive art form. Using innovative materials and techniques, they rejected formulaic Gothic Revivalism while seeking authentic, creative inspiration in medieval traditions. This new approach was pioneered by Christopher Whall (1849–1924), whose charismatic teaching educated a generation of talented pupils—both men and women—who produced intensely colorful and inventive stained glass, using dramatic, lyrical, and often powerfully moving design and symbolism. Peter Cormack demonstrates how women made critical contributions to the renewal of stained glass as artists and entrepreneurs, gaining meaningful equality with their male colleagues, more fully than in any other applied art. Cormack restores stained glass to its proper status as an important field of Arts and Crafts activity, with a prominent role in the movement’s polemical campaigning, its public exhibitions, and its educational program.

£56.78
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Asia in Amsterdam. The culture of Luxury in the Golden Age. Edited by: Karina H. Corrigan, Jan van Campen, and Femke Diercks, with Janet C. Blyberg.

0300212877

New Haven and London, 2015. Cm. 30x23, pp. 356, figg. a col. e in nero n. t., mz. tela.

Catalogo della mostra: Amsterdam, Rijksmuseum, 2015-2016.

This lavishly illustrated catalogue discusses the Asian luxury goods that were imported into the Netherlands during the 17th century and demonstrates the overwhelming impact these works of art had on Dutch life and art during the Golden Age. Written by a team of 30 international scholars, this volume presents seven essays and catalogue entries on 150 works of art, including Dutch and Asian paintings, textiles, ceramics, lacquer, furniture, silver, diamonds, and jewelry. From the Dutch settlements throughout Asia—including Indonesia, India, Sri Lanka, Malaysia, China, and Japan—Dutch maritime traders brought an astonishing range of luxuries back to the Netherlands. Dutch consumers were enthralled with these foreign goods, which brought new colors, patterns, and textures to their interiors and wardrobes. As seen in the book’s many illustrations, Dutch artists also found inspiration in these objects and incorporated them into portraits, genre scenes, and particularly still-life paintings. Dutch artists and craftspeople also adapted distinctly Asian technologies, such as porcelain and lacquer, to create new works of art inspired by Asia. This catalogue weaves together the complex stories of these diverse works of art and presents fascinating portraits of the dynamic cities of Amsterdam and Batavia (Jakarta)—the Dutch trade center in Asia during the 17th century.

£56.78
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Aubrey Beardsley. A Catalogue Raisonné.

0300111279

New Haven and London, 2016. 2 voll. cm. 30x26, pp. xxxi-519; xi-547, tavv. e ill. a col. e in nero n. t., tela e sovrac. in cof. fig.

This is the first book to bring together the recorded works of the English artist Aubrey Beardsley. Despite his early death from tuberculosis in 1898, at the age of 25, these amount to nearly 1100 completed works of art (plus many related sketches) as well as more than 100 sketches in his letters and the books he owned, and this book includes over 50 that have never previously been published.
In his brief career Beardsley made a defining contribution to Art Nouveau in Britain and abroad. He also influenced the early history of modern art, attracting the attention of the young Picasso, for example. His distinctive and innovatory graphic style, combined with highly provocative, often sexual subject matter, outraged critics and led to a period of intense notoriety. Beardsley's drawings span the grotesque, the delicately beautiful, the subtly erotic, and the frankly bawdy, and challenged the moral norms of Victorian society. They enthralled artists and art lovers the world over and continue to enthral today.

£207.30
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Baroque Naples and the Industry of Painting. The World in the Workbench.

0300174502

New Haven and London, 2016. Cm. 28x22, pp. xi-339, tavv. e ill. 188 a col. e in nero n. t., tela e sovrac.

The second largest city in 17th-century Europe, Naples constituted a vital Mediterranean center in which the Spanish Habsburgs, the clergy, and Neapolitan aristocracy, together with the resident merchants, and other members of the growing professional classes jostled for space and prestige. Their competing programs of building and patronage created a booming art market and spurred painters such as Jusepe de Ribera, Massimo Stanzione, Salvator Rosa, and Luca Giordano as well as foreign artists such as Caravaggio, Domenichino, Artemisia Gentileschi, and Giovanni Lanfranco to extraordinary heights of achievement. This new reading of 17th-century Italian Baroque art explores the social, material, and economic history of painting, revealing how artists, agents, and the owners of artworks interacted to form a complex and mutually sustaining art world. Through such topics as artistic rivalry and anti-foreign labor agitation, art dealing and forgery, cultural diplomacy, and the rise of the independently arranged art exhibition, Christopher R. Marshall illuminates the rich interconnections between artistic practice and patronage, business considerations, and the spirit of entrepreneurialism in Baroque Italy.

 

 

£72.10
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Beauty and Identity. Islamic Art from the Los Angeles County Museum of Art.

1943042036

New Haven and London, 2016. Cm. 29x24, pp. 308, tavv. e ill. a col. n. t., tela e sovrac.

Catalogo della mostra: Dhahran, King Abdulaziz Center for World Culture, 2016.

This exquisitely illustrated volume features 150 works from the Los Angeles County Museum of Art’s rich holdings of Islamic art. The objects – including brilliantly glazed pottery, enameled and gilded glass, inlaid metalwork, carved ornamental stone and wood, sumptuous woven textiles, and vividly illuminated and superbly written manuscripts and single pages – span the area extending from southern Spain to northern India, and range in date from the 7th century up to the modern era. Full-color plate images are accompanied by descriptions in both English and Arabic, organized chronologically and thematically. Among the book’s essays is an illustrated narration of the museum’s recently conserved Damascus Room. Published here for the first time, this stunning room retains its original brightly painted surfaces. Beautiful and authoritative, this book is an essential guide to global Islamic art.

£63.09
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Becoming an Architect in Renaissance Italy. Art, Science, and the Career of Baldassarre Peruzzi.

0300203950
New Haven and London, 2015. Cm. 29x25, pp. 221, ill. 165 a col. e in nero n. t., cart. e sovrac.

A leading architect of the Italian Renaissance, Baldassarre Peruzzi (1481–1536) has, until now, been a little-known, enigmatic figure. A paucity of biographical documentation and a modest number of surviving buildings, coupled with an undeservedly critical assessment by Giorgio Vasari (1511–1574), have long cast Peruzzi’s career in shadow. With Becoming an Architect in Renaissance Italy, Ann C. Huppert taps into a known, but neglected resource—Peruzzi’s autograph drawings—and reveals the full scope and artistic mastery of Peruzzi’s work and its enduring influence.
Extraordinary not only in their beauty and design inventiveness, but also in the varied representational techniques and practical mathematics noted within them, Peruzzi’s drawings record an evolving artistic process. Reassessing his architectural masterworks, Huppert also explores lesser-known work: his studies of Roman antiquity, realized paintings and unrealized buildings, as well as engineering projects. Huppert shows that Peruzzi anticipated modern representational methods and scientific approaches in architecture, and pinpoints the moment when architecture began to emerge as a profession distinct from the other arts.

 

£67.60
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Bernard Berenson. A Life in the Picture Trade.

0300149425

New Haven and London, 2013. Cm. 22x15, pp. 328, figg. in nero n. t., cart. e sovrac.

When Gilded Age millionaires wanted to buy Italian Renaissance paintings, the expert whose opinion they sought was Bernard Berenson, with his vast erudition, incredible eye, and uncanny skill at attributing paintings. They visited Berenson at his beautiful Villa I Tatti, in the hills outside Florence, and walked with him through the immense private library—which he would eventually bequeath to Harvard—without ever suspecting that he had grown up in a poor Lithuanian Jewish immigrant family that had struggled to survive in Boston on the wages of the father’s work as a tin peddler. Berenson’s extraordinary self-transformation, financed by the explosion of the Gilded Age art market and his secret partnership with the great art dealer Joseph Duveen, came with painful costs: he hid his origins and felt that he had betrayed his gifts as an interpreter of paintings. Nevertheless his way of seeing, presented in his books, codified in his attributions, and institutionalized in the many important American collections he helped to build, goes on shaping the American understanding of art today. This finely drawn portrait of Berenson, the first biography devoted to him in a quarter century, draws on new archival materials that bring out the significance of his secret business dealings and the way his family and companions—including his patron Isabella Stewart Gardner, his lover Belle da Costa Greene, and his dear friend Edith Wharton—helped to form his ideas and his legacy. Rachel Cohen explores Berenson’s inner world and exceptional visual capacity while also illuminating the historical forces—new capital, the developing art market, persistent anti-Semitism, and the two world wars—that profoundly affected his life.

 

£28.84
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Bernini's Beloved. A Portrait of Costanza Piccolomini.

0300175271
New Haven and London, 2012. Cm. 26x18, pp. ix-260, figg. 124 a col. e in nero n. t., cart. e sovrac.
£35.15
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Blanche of Castile Queen of France.

0300219265

New Haven and London, 2016. Cm. 24x15, pp. xi-455, ill. 30 a col. f. t., tela e sovrac.

This is the first modern scholarly biography of Blanche of Castile, whose identity has until now been subsumed in that of her son, the saintly Louis IX. A central figure in the politics of medieval Europe, Blanche was a sophisticated patron of religion and culture. Through Lindy Grant’s engaging account, based on a close analysis of Blanche’s household accounts and of the social and religious networks on which her power and agency depended, Blanche is revealed as a vibrant and intellectually questioning personality.

 

 

£38.76
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Caravaggio & his Followers in Rome.

9780300170726
New Haven and London, 2011. Cm. 28x23, pp. x-333, tavv. e ill. a col. n. t., tela e sovrac. Catalogo della mostra: Ottawa, The National Gallery of Canada, 2011.
£67.60
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Cézanne and the Modern. Masterpieces of European Art from the Pearlman Collection. Edited by: Jane Friedman, Sharon Herson, and Audrey Walen.

9780300174403
New Haven and London, 2014. Cm. 30x25, pp. xv-303, tavv. e figg. a col. e in nero n. t., tela e sovrac. Catalogo della mostra: Oxford, Ashmolean Museum of Art and Archaelogy, 2014.
£54.08
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Charles Percier. Architecture and Design in an Age of Revolutions. Edited by Jean-Philippe Garric.

0300221589

New Haven and London, 2016. Cm. 29x25, pp. 303, figg. a col. e in nero n. t., cart.

Catalogo della mostra: New York, The Bard Graduate Center Gallery, 2016-2017.

Handsomely designed and richly illustrated, this publication surveys the magnificent spectrum of projects undertaken by French architect and interior designer Charles Percier (1764–1838). After gaining an illustrious reputation for supervising the scenery at the Paris Opéra during the French Revolution, Percier was later appointed by Napoleon Bonaparte. With the Emperor’s support, he developed the opulent versions of neoclassicism closely associated with the Napoleonic era, and now known as Directoire style and Empire style. Percier worked on the renovation or redecoration of many of France’s royal palaces, including the Louvre, the Tuileries, and the chateaux of Malmaison, Saint-Cloud, and Fontainebleau. The full scope and variety of Percier’s design projects are revealed in this book, which also includes archival material detailing Percier’s relationships with patrons and peers.

 

 

£63.09
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Christen Kobke. Danish Master of Light.

9780300166637
New Haven and London, Yale University Press, 2010. Cm. 27x23, pp. 128, ill. 86 a col. n. t., tela e sovrac. Catalogo della mostra: Londra, National Gallery, 2010.
£37.85
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Cosmè Tura of Ferrara. Style, Politics and the Renaissance City, 1450-1495.

New Haven and London, 1998. In-8¡, pp. xi-207, tavv. e ill. 117 a col. e in nero n. t., tela e sovrac.


£73.91
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Daughter of Venice. Caterina Corner, Queen of Cyprus and Woman of the Renaissance.

0300209723
New Haven and London, 2015. Cm. 25x18, pp. xi-347, figg. 69 a col. e in nero n. t., tela e sovrac. Caterina Corner, a Venetian noblewoman and the last Queen of Cyprus, led a complex and remarkable life. In 1468, Corner married King Jacques II Lusignan of Cyprus at the behest of her family, whose ambitions matched those of the Venetian republic anxious to extend its empire. In the first year of her reign, pregnant and widowed, she became regent for the kingdom. This study considers for the first time the strategies of her reign, negotiating Venetian encroachment, family pressures, and the challenges of female rule. Using previously understudied sources, such as her correspondence with Venetian magistracies, the book shows how Corner marshalled her royal authority until and beyond her forced abdication in 1489. The unique perspective of Corner’s life reveals new insights into Renaissance imperialism, politics, familial ambition, and conventions of ideal womanhood as revealed in the portraits, poetry, and orations dedicated to her.

£58.58
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