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Literature about Dürer fills library shelves. Does this mean everything has already been said about the artist? Far from it, according to the scholars at the Germanisches Nationalmuseum and their international partners in the Early Dürer Project. This book deals with the core phenomena of Dürers early work, ranging from the artists biography and surroundings to the question of Dürers role as the archetype of the modern artist. New sociological approaches allow us to interpret Dürers ideal neighbourhood as a source of inspiration for the artists work, resituating Dürer in the artistic context of his time, at an exciting crossroad between the imitation of traditional painting and the self-conscious renewal of his profession. Photographs of Dürers early work, many of which are new and published here for the first time, complete the publication, which will establish a new basis for a modern understanding of Germanys most famous artist.
Writing at the time of political and social crisis in Athens, Aristophanes was an eloquent yet bawdy challenger to the demagogue and the sophist. The Achanians is a plea for peace set against the background of the long war with Sparta.
Vienna: Art and Design: Klimt, Schiele, Hoffmann, Loos is a stylish and timeless publication that highlights this extraordinary and provocative period when a unique generation of artistic and intellectual geniuses laid the foundations for life in the twentieth century. Beginning in 1897 artists such as Gustav Klimt, Josef Hoffmann, Koloman Moser, Adolf Loos and Egon Schiele transformed Vienna into a dynamic, vibrant metropolis at the forefront of groundbreaking modernism.
Obsessed with contemporary culture, Warhol celebrated the sensational as well as the mundane in every facet of society. His headline works chart in real time the great shift in the technological means employed to deliver the news from the 1950s until the artist's death in 1987. This book explores his headline work.
This title examines the ways in which Turner consistently strove to confront Claude's achievement and legacy.
Roughness is the sensual quality most often associated with Rembrandt's idiosyncratic style. It best defines the specific structure of his painterly textures, which subtly capture and engage the imagination of the beholder. Rembrandt's Roughness examines how the artist's unconventional technique pushed the possibilities of painting into startling and unexpected realms. Drawing on the phenomenological insights of Edmund Husserl as well as firsthand accounts by Rembrandt's contemporaries, Nicola Suthor provides invaluable new perspectives on many of the painter's best-known masterpieces, including The Anatomy Lesson of Dr. Deyman, The Return of the Prodigal Son, and Aristotle with a Bust of Homer. She focuses on pictorial phenomena such as the thickness of the paint material, the visibility of the colored priming, and the dramatizing element of chiaroscuro, showing how they constitute Rembrandt's most effective tools for extending the representational limits of painting. Suthor explores how Rembrandt developed a visually precise handling of his artistic medium that forced his viewers to confront the paint itself as a source of meaning, its challenging complexity expressed in the subtlest stroke of his brush. A beautifully illustrated meditation on a painter like no other, Rembrandt's Roughness reflects deeply on the intellectual challenge that Rembrandt's unrivaled artistry posed to the art theory of his time and its eminent role in the history of art today.
A dramatic traveling exhibit of 15 works, The Lasting World: SIMON DINNERSTEIN and The Fulbright Triptych, is the theme of this new publication. The title, The Lasting World, comes from an essay on Simon Dinnerstein by the noted art theorist and psychologist, Rudolf Arnheim. Granted a Fulbright Fellowship in 1970-1971, Dinnerstein traveled to Germany where he began working on The Fulbright Triptych, his best known work. The triptych, which measures 14 feet in width, has been the subject of much critical response, including Roberta Smith and John Russell, both senior art critics of The New York Times: "This little-known masterpiece of 1970s realism was begun by the young Simon Dinnerstein during a Fulbright Fellowship in Germany and completed in his hometown, Brooklyn, three years later. Incorporating carefully rendered art postcards, children's drawings and personal memorabilia; a formidable worktable laid out with printmaking tools and outdoor views; and the artist and his family, it synthesizes portrait, still life, interior and landscape and rummages through visual culture while sampling a dazzling range of textures and representational styles. It should be seen by anyone interested in the history of recent art and its oversights."Roberta Smith, The New York Times, August 11, 2011: "Neither scale nor perseverance has anything to do with success in art, and Mr. Dinnerstein's triptych could be just one more painstaking failure. But it succeeds as an echo chamber, as a scrupulous representation of a suburb in the sticks, as a portrait of young people who are trying to make an honorable go of life and as inventory of the kind of things that in 1975 give such people a sense of their own identity. It deserves to go to a museum."John Russell, The New York Times, February 5, 1975. The publication includes an interview with noted art historian Lynn F. Jacobs on the triptych form and essays by Alex Barker, Director of the Art Museum at the University of Missouri and Tom Healy, who served three terms as Chairman of the Fulbright Foreign Scholarship Board, which oversees the worldwide Fulbright Program.