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The taste for chinoiserie, which originated and developed in the West during the 17th century, reinterpreted the themes, ornamentation and decorative techniques of the Far East and China. This volume is the first published on Italian Chinoiserie, a style developed slightly later in Italy than at other European courts, but which flourished rapidly and spectacularly during the 18th century when a passion for the Orient heavily influenced the rococo style. Throughout the peninsula many of the Italian courts - from the Bourbons in Sicily and Campania to the Savoys in Piedmont, from the Veneto to papal Rome and including Florence and the Medici, later Lorraine, Grand Duchy - indulged their enthusiasm for chinoiseries creating some intriguing works of art. No field was left untouched and the author of this volume has taken pains to cover them all: from architecture (the Chinese Palace at Palermo) to interior decorative painting (the rooms frescoed by Tiepolo in Vicenza and the 'Chinese' rooms of Naples and Palermo), from ceramics and porcelain (the Capodimonte Porcelain Room) to cabinet making (Venetian lacquered furniture in particular, but also the Lacquer Room in Turin), to fabrics and all other decorative arts. ILLUSTRATIONS 200 colour & 95 b/w *
Chinoiserie, a decorative style inspired by the art of the Far East, gripped Britain from the late seventeenth to the early nineteenth century. Despite taking its name from the French word for 'Chinese', the style also incorporated influences from other Asian countries, helping to shape the period's popular fantasy of the 'exotic Orient'. Wealthy consumers jostled to obtain imported wallpaper, lacquered cabinets and hand-painted porcelain, while domestic manufacturers such as Royal Worcester and Chippendale met demand with mass-produced items of their own. Though interest in the style waned as the Gothic Revival took hold, many examples of Chinoiserie have been preserved. In this beautifully illustrated book, Richard Hayman tells the story of this fascinating phenomenon, and explores the profound impact of Chinoiserie on the material culture of the West.
In Alois Riegl in Vienna 1875-1905, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl’s published texts, several of which are still unavailable in English. Using archival and other primary sources this study also illuminates the institutional conflicts and imperatives that shaped Riegl’s oeuvre. The result is a multi-layered philosophical, cultural and institutional history of this art historian’s work of the fin-de-siècle that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century.