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This volume and the exhibition it accompanies bring together eighty of the finest masterpieces in the collection of the Calouste Gulbenkian Museum, Lisbon. All of the works of art are richly illustrated in color and described in authoritative texts by the curators of the Gulbenkian Museum. These magnificent pieces, which reflect the renowned art collector Calouste Gulbenkian's eclectic taste, include paintings by Rubens, Fragonard, Gainsborough, Turner, and Manet; silver from services created for the nobility of Russia and Western Europe; Roman medallions; Ottoman ceramics; Japanese lacquerware; jewelry by Lalique; and books and textiles from both East and West. These works of art offer dazzling testimony to Gulbenkian's devotion to the quality of the individual object and to his refined connoisseurship. The Calouste Gulbenkian Museum was created under the terms of Gulbenkian's will in order to preserve under one roof the artworks in his collection--one of the preeminent art assemblages of the first half of the twentieth century. Gulbenkian, a successful businessman who was born in 1869 in Ottoman Turkey to an Armenian family, made his fortune in the oil industry. In April 1942, in the midst of World War II, he arrived in Lisbon seeking a peaceful place to live. Portugal had remained neutral in the conflict that was engulfing the world. Gulbenkian spent the rest of his life in Lisbon, where he died in 1955. As a collector--whether of ancient Egyptian art, Islamic art, or European painting and decorative arts--Gulbenkian acquired "only the best."
This volume celebrates the storied career of Stephen N. Fliegel, the former Robert Bergman Curator of Medieval Art at the Cleveland Museum of Art (CMA). Authors of these essays, all leading curators in their fields, offer insights into curatorial practices by highlighting key objects in some of the most important medieval collections in North America and Europe: Metropolitan Museum of Art, The Louvre, the British Museum, Victoria & Albert Museum, the Getty, the Groeningemuseum, The Morgan Library, Vienna’s Kunsthistorisches Museum, and, of course, the CMA, offering perspectives on the histories of collecting and display, artistic identity, and patronage, with special foci on Burgundian art, acquisition histories, and objects in the CMA.
Author Joni M. Hand sheds light on the reasons women of the Valois courts from the mid-fourteenth to the mid-sixteenth century commissioned devotional manuscripts. Visually interpreting the non-text elements-portraits, coats of arms, and marginalia-as well as the texts, Hand explores how the manuscripts were used to express the women?s religious, political, and/or genealogical concerns. This study is arranged thematically according to the method in which the owner is represented. Recognizing the considerable influence these women had on the appearance of their books, Hand interrogates how the manuscripts became a means of self-expression beyond the realm of devotional practice. She reveals how noblewomen used their private devotional manuscripts as vehicles for self-definition, to reflect familial, political, and social concerns, and to preserve the devotional and cultural traditions of their families. Drawing on documentation of women?s book collections that has been buried within the inventories of their fathers, husbands, or sons, Hand explores how these women contributed to the cultural and spiritual character of the courts, and played an integral role in the formation and evolution of the royal libraries in Northern Europe.
"This scholarly publication 'The Felton illuminated manuscripts in the National Gallery of Victoria' celebrates the Gallery's small but distinguished collection of illuminated manuscripts and eloquently comments on the development of the handwritten and ornamented book from the twelfth century to the advent of printing in the late fifteenth century."--Page 5.
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Author Joni M. Hand sheds light on the reasons women of the Valois courts from the mid-fourteenth to the mid-sixteenth century commissioned devotional manuscripts. Visually interpreting the non-text elements-portraits, coats of arms, and marginalia-as well as the texts, Hand explores how the manuscripts were used to express the women's religious, political, and/or genealogical concerns. This study is arranged thematically according to the method in which the owner is represented.
A companion to the Getty’s prize-winning exhibition catalogue Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, this volume contains thirteen selected papers presented at two conferences held in conjunction with that exhibition. The first was organized by the Getty Museum, and the second was held at the Courtauld Institute of Art under the sponsorship of the Courtauld Institute and the Royal Academy of Arts. Added here is an essay by Margaret Scott on the role of dress during the reign of Charles the Bold. Texts include Lorne Campbell’s research into Rogier van der Weyden’s work as an illuminator, Nancy Turner’s investigation of materials and methods of painting in Flemish manuscripts, and trenchant commentary by Jonathan Alexander and James Marrow on the state of current research on Flemish illumination. A recurring theme is the structure of collaboration in manuscript production. The essays also reveal an important new patron of manuscript illumination and address the role of illuminated manuscripts at the Burgundian court. A series of biographies of Burgundian scribes is featured.
This exquisite volume beautifully reproduces and insightfully examines the most important illuminations found in French history manuscripts.
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