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For the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser’s Die Kunst- und Wunderkammern der Spätrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser’s book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann’s substantial introduction. Tracing Schlosser’s biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.
Focusing on how sculptures adjusted to this cultural tumult, Jeffrey Chipps Smith offers the first comprehensive examination of the artistic response to the challenge of the Reformation in German lands. In so doing he exposes the years leading up to the Counter-Reformation as a period of surprising artistic vibrance
Perhaps the best-known artist of the international Surrealist movement, Salvador Dalí (1904-1989) transformed his dreams and personal obsessions into some of the most original and arresting images of the 20th century. While the Surrealist works from his early years are widely known and admired, Dalí's controversial late works--often inspired by science and religion--have been given a different reception. In this important book, experts provide a revisionist account of the last five decades of the artist's career. The Dalí Renaissance explores a wide range of topics from this period, including the artist's fascination with religion and popular culture, his Nuclear Mysticism lecture tour of the midwestern United States, and his influence on film, photography, design, and fashion. Based on an international symposium held at the Philadelphia Museum of Art, the volume also features an enlightening discussion between two of Dalí's former companions, Ultra Violet and Amanda Lear, that provides a glimpse into his personal life and working methods. Distributed for the Philadelphia Museum of Art
One of the most important collections of medieval sculpture and metalwork ever assembled, available to the public for the first time This is the definitive catalogue of one of the most important collections of medieval art that exists in private hands, not previously accessible to the public. Comprised of outstanding European sculptures of the medieval period, as well as some Late Antique and Byzantine pieces and related works of the post-medieval era, this stunning volume includes detailed descriptions of many items rarely or never before seen in print. The featured objects are made from wood, stone (including alabaster and marble), terra- cotta, and metal— mostly consisting of crucifix figures (corpora) and other functional metalware, such as aquamanilia (water vessels for the washing of hands) and candlesticks—all of which are beautifully showcased by specially commissioned photography.
"Publisdhed in conjuntion with the exhibition: Magnificenza! the Medici, Michelangelo, & the Art of Late Renaissance Florence (In Italy, L'Ombra del genio: Michelangelo e l'arte a Firenze, 1538-1631) ..."--Title page verso.
"Being both costly and luxurious, bronze arguably carries the most significance of all the sculptural materials. In the Renaissance, the use of bronze embodied power, authority and eternity and emulated the classical past. Yet it was one of the easiest materials to recycle, especially when the need for artillery was often pressing. Nonetheless the Italian Renaissance was a golden age for the production of sculpture in bronze, such as Ghiberti's Gates of Paradise, Verrocchio's Colleoni monument or Cellini's Perseus.0Bronze is generally defined as an alloy of copper and tin, but can contain zinc, lead and other elements. The term `bronze' is often applied to any copper-alloy sculpture. The Culture of Bronze draws on the latest research to explore the material and making of bronzes; the inter-relationships and collaboration between sculptor, founder and owner in the key centres of production, such as Florence, Padua, and the often over-looked city of Ferrara; as well as the inter-connections with Northern Europe. Encompassing works made for domestic, religious and civic environments, the book explores the symbolism of bronze, and the bronzes themselves, within their broader context in renaissance society." -- provided by publisher.
Renaissance sculptor Bertoldo di Giovanni was a student of Donatello, a teacher of Michelangelo, and a favorite of Lorenzo de' Medici "il Magnifico," his principal patron. Bertoldo was one of the first sculptors to create statuettes in bronze. With an overview of the artist's entire oeuvre, this major scholarly catalogue is the most substantial text on Bertoldo ever produced.
From the WORLD OF ART series, a survey of the artistic achievements of the Renaissance sculptors from Nicola Pisano through Brunelleschi and Donatello to Michelangelo and Cellini.
This handbook documents the antique works of art known to Renaissance artists up to 1527. More than 500 illustrations show Greek and Roman statues, mythological, and historical reliefs together with Renaissance drawings, engravings, bronzes, and paintings to demonstrate where these classical monuments were discovered.
This handsomely illustrated volume traces the intersections of art history and paintings restoration in nineteenth-century Europe. Repairing works of art and writing about them—the practices that became art conservation and art history—share a common ancestry. By the nineteenth century the two fields had become inseparably linked. While the art historical scholarship of this period has been widely studied, its restoration practices have received less scrutiny—until now. This book charts the intersections between art history and conservation in the treatment of Italian Renaissance paintings in nineteenth-century Europe. Initial chapters discuss the restoration of works by Giotto and Titian framed by the contemporary scholarship of art historians such as Jacob Burckhardt, G. B. Cavalcaselle, and Joseph Crowe that was redefining the earlier age. Subsequent chapters recount how paintings conservation was integrated into museum settings. The narrative uses period texts, unpublished archival materials, and historical photographs in probing how paintings looked at a time when scholars were writing the foundational texts of art history, and how contemporary restorers were negotiating the appearances of these works. The book proposes a model for a new conservation history, object-focused yet enriched by consideration of a wider cultural horizon.