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"Many famous artworks of the Italian Renaissance were made to celebrate love, marriage, and family. They were the pinnacles of a tradition, dating from early in the era, of commemorating betrothals, marriages, and the birth of children by commissioning extraordinary objects - maiolica, glassware, jewels, textiles, paintings - that were often also exchanged as gifts. This volume is the first comprehensive survey of artworks arising from Renaissance rituals of love and marriage and makes a major contribution to our understanding of Renaissance art in its broader cultural context. The impressive range of works gathered in these pages extends from birth trays painted in the early fifteenth century to large canvases on mythological themes that Titian painted in the mid-1500s. Each work of art would have been recognized by contemporary viewers for its prescribed function within the private, domestic domain."--BOOK JACKET.
From 711 when they arrived on the Iberian Peninsula until 1492 when scholars contribute a wide-ranging series of essays and catalogue entries which are fully companion to the 373 illustrations (324 in color) of the spectacular art and architecture of the nearly vanished culture. 91/2x121/2 they were expelled by Ferdinand and Isabella, the Muslims were a powerful force in al-Andalus, as they called the Iberian lands they controlled. This awe-inspiring volume, which accompanies a major exhibition presented at the Alhambra in Granada and The Metropolitan Museum of Art in New York, is devoted to the little-known artistic legacy of Islamic Spain, revealing the value of these arts as part of an autonomous culture and also as a presence with deep significance for both Europe and the Islamic world. Twenty-four international Annotation copyrighted by Book News, Inc., Portland, OR
Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.
Catalog of Catalogs documents nearly 2,300 temporary exhibition catalogs, 1876-2018, that include objects of Judaica. It provides highly-detailed indices of these publications' subjects, exhibited objects and geographical foci.
A major publication on Hokusai's remarkable late work, incorporating fresh scholarship on the sublime paintings and prints the artist created in the last thirty years of his life
Catalogue of an exhibition of the same name held at the Princeton University Art Museum, Princeton, New Jersey on March 17-June 14, 2020 and at the Royal Academy of Arts, London, England on July 12-October 18, 2020.
As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.
From the exhibition It's Me, Eloise: The Voice of Kay Thompson and the Art of Hilary Knight, The Eric Carle Museum of Picture Book Art, February 12, 2017 - June 4, 2076.40 pages, full color. Includes essay "Getting Bored is Not Allowed" by Guest Curator, Jane Bayard Curley.From acknowledgements by Alexandra Kennedy: "The Carle is proud to present the first major retrospective of Knight's work. It's Me, Eloise: The Voice of Kay Thompson and the Art of Hilary Knight includes more than 90 artworks from all the surviving Eloise collaborations - as well as from the rest of Knight's prodigious career as a children's book artist, poster artist, magazine illustrator, and painter."
Winner of the 2018 Dedalus Foundation Exhibition Catalogue Award This book explores how Georgia O’Keeffe lived her life steeped in modernism, bringing the same style she developed in her art to her dress, her homes, and her lifestyle. Richly illustrated with images of her art and views of the two homes she designed and furnished in New Mexico, the book also includes never before published photographs of O’Keeffe’s clothes. The author has attributed some of the most exquisite of these garments to O’Keeffe, a skilled seamstress who understood fabric and design, and who has become an icon in today’s fashion world as much for her personal style as for her art. As one of her friends stated, O’Keeffe "never allowed her life to be one thing and her painting another." This fresh and carefully researched study brings O’Keeffe’s style to life, illuminating how this beloved American artist purposefully proclaimed her modernity in the way she dressed and posed for photographers, from Alfred Stieglitz to Bruce Weber. This beautiful book accompanies the first museum exhibition to bring together photographs, clothes, and art to explore O’Keeffe’s unified modernist aesthetic. This book accompanies the show at the Peabody-Essex Museum, Georgia O’Keeffe: Art, Image, Style.
"Published by Gregory R. Miller & Co. ... on the occasion of the exhibition Marilyn Minter: pretty/dirty. Contemporary Arts Museum Houston, April 17-August 2, 2015; Museum of Contemporary Art Denver, September 18, 2015-January 31, 2016; [and two other places]"--Colophon.