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TLS review 4/18/97, Distributed for National Gallery Publications, London, Exhibition catalog.
The New Grove Dictionary of Music and Musicians is the most up-to-date body of musical knowledge ever gathered together.
This anthology presents classic and recent scholarship on Italian art from 1600-1750, highlighting the key debates with which art historians continue to grapple. Explores themes including: style or the visuality of art; artistic practices and production; artistic communication as projected and experienced; and artists’ interactions with the ancient world and with the new sciences Examines the work of key painters, architects and sculptors from this period, including Caravaggio, Bernini, Guarini and Poussin Published in the expanding Blackwell Anthologies in Art History series
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States. The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s. A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries. In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Presents 17th- and 18th-century Italian paintings from one of the world's finest collections of European art.
This classic survey of Italian Baroque art and architecture focuses on the arts in every center between Venice and Sicily in the early, high, and late Baroque periods. The heart of the study, however, lies in the architecture and sculpture of the exhilarating years of Roman High Baroque, when Bernini, Borromini, and Cortona were all at work under a series of enlightened popes. Wittkower's text is now accompanied by a critical introduction and substantial new bibliography. This edition will also include color illustrations for the first time. This is the second book in the three volume survey.
Delivered at the turn of the twentieth century, Riegl's groundbreaking lectures called for the Baroque period to be judged by its own rules and not merely as a period of decline.
"Rudolf Wittkower touch no subject that he did not illuminate, but the architecture of the Italian Baroque was recognized as the particular domain which he ruled without a rival. His Art and Architecture in Italy 1600-1750, became the standard work as soon as it was published. Regrettably, it was his last full-scale contribution, but his research continued, and the articles that he wrote during the last twelve years of his life extend and supplement that book in many respects. These are now collected for the first time, together with earlier writings which have stood the test of time and the probings of later scholarship. This volume extends from his youthful but still unsuperseded study of Carlo Rainaldi (1937) to his latest, unpublished, thoughts on the domes of Vittone (1970), an architect whom he discovered practically single-handed. In between come four essays relating to Bernini, as both architect and sculptor; a detailed examination of S. Maria della Salute in Venice; lengthy reconsiderations of Guarini and Borromini; a description of Filippo Juvarra's sketchbook at Chatsworth, including reproductions for the first time of all its pages; and three studies of Piranesi. With 357 illustrations." --