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From the late seventeenth through the mid-eighteenth centuries, large-scale Italian frescoes soared in popularity as nobles in the German principalities of the Holy Roman Empire constructed new palaces at an unprecedented rate. They competed with one another to produce lavish decorative schemes that expressed their claim to princely power and political authority. Whereas previous art historians have primarily focused on iconographic and stylistic issues and generally treated these programs as individual commissions of regional courts, this book places the works of art within their broad cultural and historical contexts during the Enlightenment. This monograph explains how rulers gradually shifted from emphasizing military heroism to stressing their cultivation of the arts and sciences, and addresses how expressing membership in a specifically European civilization emerged as an integral visual theme and a key ambition of the German nobility.
"This volume explores early modern recreations of myths from Ovid's immensely popular Metamorphoses, focusing on the creative ingenium of artists and writers and on the peculiarities of the various media that were applied. The contributors try to tease out what (pictorial) devices, perspectives, and interpretative markers were used that do not occur in the original text of the Metamorphoses, what aspects were brought to the fore or emphasized, and how these are to be explained. Expounding the whatabouts of these differences, the contributors discuss the underlying literary and artistic problems, challenges, principles and techniques, the requirements of the various literary and artistic media, and the role of the cultural, ideological, religious, and gendered contexts in which these recreations were produced. Contributors are: Noam Andrews, Claudia Cieri Via, Daniel Dornhofer, Leonie Drees-Drylie, Karl A.E. Enenkel, Daniel Fulco, Barbara Hrysko, Gerlinde Huber-Rebenich, Jan L. de Jong, Andrea Lozano-Vásquez, Sabine Lütkemeyer, Morgan J. Macey, Kerstin Maria Pahl, Susanne Scholz, Robert Seidel, and Patricia Zalamea"--
The Royal Armory in Madrid, assembled at a time when the Spanish Crown was at the height of its international power, is the oldest and one of the finest and largest armories in the world, imbued with great historical, artistic, and symbolic significance. Armor drawn from the unsurpassed holdings of the Spanish Royal Armory is shown in this exhibition alongside portraits of rulers dressed in the same armor, painted by such masters as Peter Paul Rubens, Anthony van Dyck, Diego Velázquez, and Alonso Sánchez Coello. Several large and magnificent tapestries from the royal collection also depict the armor in use. Together, some 75 works illustrate the use of luxurious armor in projecting an image of royal power in Imperial Spain. The exhibition includes several full suits of armor, helmets, shields, and equestrian armor--worn in battle but more often in Renaissance parades, pageants, and jousting tournaments. The works of art on view date from the reigns of the Holy Roman Emperors Maximilian I of Austria (1508-1519) and Emperor Charles V (1519-1558), to those of his successors, King Philip II (1556-1598), King Philip III (1598-1621), and King Philip IV (1621-1665). This is the first time that the armor has been exhibited together with the portraits in which it is depicted.
A twenty-one volume set of encyclopedias providing an alphabetical listing of information on a variety of topics.
"This book is divided into two parts, the first comprises two chapters dealing with Karol Lanchkoronski and the fate of his collection, as well as wedding rituals in Renaissance Italy and the history of domestic painting. The second part, consisting of eight chapters, discusses the cassone panels and paintings derving from day beds--lettucci--and panelling of the walls--spalliere."--Back cover.
A collection of essays by the art historian Aby Warburg, these essays look beyond iconography to more psychological aspects of artistic creation: the conditions under which art was practised; its social and cultural contexts; and its conceivable historical meaning.
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
DigiCat Publishing presents to you this special edition of "Italian Fantasies" by Israel Zangwill. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.