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The catalog for the Norton Museum of Art exhibition, High Tea: Glorious Manifestations East and West focuses on the art of tea in high society from eight key cultures worldwide: China, Korea, Japan, Germany/Austria, France, Russia, Britain, and America.
The J. Paul Getty Museum Journal 13 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, decorative arts, drawings, paintings, and photographs. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 13 includes articles written by Helayna I. Thickpenny, Michael Pfrommer, Klaus Parlasca, Heidemaire Koch, Jean-Dominique Augarde, Colin Streeter, Gillian Wilson, Charissa Bremer-David, C. Gay Nieda, Adrian Sassoon, Selma Holo, Marcel Roethlisberger, Louise Lippincott, Mark Leonard, Burton B. Fredericksen, Nigel Glendinning, Eleanor Sayre, and William Innes Homer.
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
The glittering and colourful opulent wares of the renowned eighteenth-century French royal Sèvres manufactory are prominently displayed in palaces and art galleries throughout the world. By contrast, the comparative delicacy and simplicity of the beautiful wares of the Vincennes porcelain works, out of which the Sèvres factory evolved, remain relatively unkown, even to porcelain experts. This book is based on the Belvedere Collection of Vincennes and early Sèvres porcelain, started 40 years ago with the modest purchase of an early Vincennes cup and saucer, but which has since grown to be one of the world's most comprehensive study collections for the rare early pieces of these two factories.-- from the dust jacket.
Saint-John Perse A version by Derek Mahon These are birds, pure and simple, nothing more, their truth the secret of life itself . . . Derek Mahon s previous translation work includes versions of Jaccottet (Words in the Air, 1998) and Valéry (The Seaside Cemetery, 2001). To these he now adds Birds by Saint-John Perse whose long, discursive, musical texts owe something to Rimbaud s Illuminations but are finally unique. Among twentieth-century poets Perse is remarkable for his oceanic qualities, his global reach and philosophical optimism. Birds is about birds, but also about the artistic vocation itself, Yeats s lonely impulse of delight
Central to this publication is the question as to which porcelain reached the Netherlands in the 17th century and how it was esteemed.Following the publication of several Dutch-language books connected to various exhibitions, all contributors to this book have long wanted to step beyond this limited scope with an international publication that contributed to the global research field of Chinese ceramics. Thirteen authors, both within and outside the Netherlands, elucidate the different sides of this topic. Although it ultimately is the history of how it was received – what was valued and why – a broad range of viewpoints have been chosen in order to answer those two questions adequately.--
Kraak porcelain is a Chinese export characterized mainly by blue and white painting and paneled decoration with popular motifs from the late Ming Dynasty. This study sets focus on the origins of Kraak porcelain based on its concept, type, and decoration, supported by the use of philological and archeological methods. 0The analysis leads to the conclusion that the origins of Kraak porcelain are not an accidental result of Chinese porcelain development but the achievement of various influences, both from East and West.0The origins of decoration and iconography were derived from Chinese ink painting and woodblock prints of the Ming Dynasty. The art of Southeast Asia, The Middle East, and Europe influenced the prototype of the creation of Kraak ware in type and ornament, which was designed specifically for these markets.0The pluralistic impact also considers European ornaments, Islamic pottery paintings, and contemporary popular religious elements.
Shortly after my book Poreelain and the Duteh me and we discussed it. As it was his intention to write about this matter, he did not in the least East India Compa~y was published in 1954 and weH received, somebody prompted me to con need any prompting or urging from me and aH the merit his work has -and I think he has done tinue my research and publish something about splendid work with admirable results - is ex the Japanese porcelain trade. I gave in, and The Japanese poreelain trade after 1683 appeared. In his clusively his own. Japanese Poreelain my good friend, the la te From experience I know the ups and downs Soame Jenyns, confessed to the prompting. of the research preceding the making of a book But, never easily satisfied when he had set his like this, the disappointments one has when not mind on a thing, he insisted on my continuing finding a thing one had expected to find, the the work and publishing what I could find greater satisfaction when one comes across an about the Chinese porcelain trade of the Dutch unexpected interesting thing. And when the facts are marshaHed and grouped in the inten after 1683.
When two captured Portugese merchantmen were brought to The Netherlands in the early seventeenth century, their cargoes of Chinese porcelain were enthusiastically received by the Dutch. These plates, dishes and bowls, decorated in blue on a white ground, were named 'Kraak porcelain', a name which has long since been associated with a particular type of Chinese export porcelain not only by the Dutch but also by other countries. This book, the first comprehensive monograph on the subject, is illustrated with 298 color and b&w plates, maps, and drawings. -- Amazon.com.