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"Illustrated, this important book offers a new look at the career of one of the central figures of the Spanish golden age. It will be an indispensable addition to the libraries of scholars, students, and lovers of Spanish painting alike."--BOOK JACKET.
Catalog of the Murillo paintings in the Hermitage, St. Petersburg, and in other Russian museums.
This volume has been published to celebrate the recent and extensive conservation of the National Gallery of Ireland?s 'Prodigal Son series', a cycle of six paintings by master storyteller of the Spanish Golden Age, Bartolomé Esteban Murillo. Recounting the life story of these six remarkable canvases from their creation in the 1660s to the present day, the book describes their astounding journey through eminent Spanish collections, a royal household, and into the hands of the Vatican, before making their way to Russborough, County Wicklow, and finally to the National Gallery of Ireland in 1987.0The volume is rich with full-colour images by NGI photographer Roy Hewson who documented the dramatic transformation of the paintings during the conservation project, and accompanied by essays by Aoife Brady and Muirne Lydon, as well as detailed entries and technical notes on each painting.00Exhibition: National Gallery of Ireland, Dublin (29.02-30.08.2020).
The Princeton University Art Museum's collection of Spanish drawings includes masterworks by artists such as Jusepe de Ribera (1591–1652), Bartolomé Esteban Murillo (1617–1682), Francisco Goya (1746–1828), Pablo Picasso (1881–1973), and Salvador Dalí (1904–1989). Although many of the drawings in the collection relate to celebrated paintings, commissions, and other works by these artists, they remain largely unknown. Most have not been published previously and many are attributed here for the first time. In Spanish Drawings in the Princeton University Art Museum, preeminent scholars enrich the growing corpus of work on Spanish drawings with original research. Each of the 95 drawings is reproduced in color, often accompanied by comparative illustrations. Watermarks have been documented with beta radiography and are included in an appendix. Provenances and artist biographies round out this detailed record of one of the most important collections of its kind.
The notion of the painting as an art object is a relatively recent invention. The Self-Aware Image offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In comparison to the old image characterized by its preeminently liturgical function and its display in a predetermined space, the painting as the new image is increasingly autonomous and movable. As a modern art object, the painting becomes the focus of an aesthetic contemplation through its insertion into a gallery or a collection. As a result of the Protestant iconoclasm and the advancement of scientific knowledge, the essence and role of the image is put into question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of visual experimentation in which art reflects on itself, its potential, its limits, its truth, and its nothingness. The representation of windows, doors, niches, mirrors, and paintings enable artists to embed the image within the image, to frame the fictiveness of the image in order to deceive, puzzle, and challenge the beholder. The pictorial devices through which artists introduce their authorial self into the image and stage the making of the image itself form the foundation of a new poetics: the poetics of metapainting. First published in French in 1993, Victor Stoichita's Self-Aware Image has become a classic of the history of art. This new, updated, and improved English edition marks the twentieth anniversary of a work that radically changed the perception of seventeenth-century art and that constitutes an ever-valid reference for contemporary scholarship. An introduction by Lorenzo Pericolo illustrates the great importance of the book for our comprehension of baroque painting.
The exhibition is accompanied by a catalogue that includes six essays, by Gabriele Finaldi, Javier Portús, Peter Cherry, Teodoro Falcón, Benito Navarrete and Ignacio Cano. It also has entries on all the works on display (by Gabriele Finaldi, Elena Cenalmor and Xavier Bray) and a documentary appendix on the life, family and activities of Justino de Neve. 'Murillo and Justino de Neve. The Art of Friendship' brings together a group of late works by Murillo that were commissioned by Justino de Neve, a canon of Seville cathedral, an important patron of art and a personal friend of Murillo's. As such, the exhibition represents a significant contribution to research on the artist's life and work. The exhibition is organised into various different sections. 0Parallel ISBN: 9788484802341.0Exhibition: Prado Museum, Madrid, Spain (2012) / Hospital de los Venerables Sacerdotes, Sevilla, Spain (11.10.2012-20.1.2013) / Dulwich Picture Gallery, London, UK (6.2.-12.5.2013).
"Showcasing the riches of the Morgan's collection and encompassing a broad chronological and geographical scope, one hundred drawings from the fifteenth through twentieth centuries have been selected for their outstanding quality and art historical significance with an eye to conveying the breadth and depth of the Morgan's holdings. From Leonardo to Pollock: Master Drawings from the Morgan Library also chronicles the history of the collection, including sheets from the initial group of drawings purchased by Pierpont Morgan in 1909 to notable acquisitions and gifts since the institution's founding in 1924." "This publication presents a variety of types of drawings - from preliminary sketches to highly finished studies - featuring a wide range of media, namely metalpoint, chalk, pen and ink, and water color."--BOOK JACKET
Published on the occasion of an exhibition held at the Frick Collection, Oct. 5, 2010-Jan. 9, 2011.