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Mario Paz has, in the Romantic Agony, acutely analyzed the effect of the traditions of Byron and De Sade upon poets and painters from 1800 to 1900. It is the analysis of a mood in literature. The mood may ve been transient, but it was widespread, and it was expressed in dreams of "luxurious cruelties," "fatal women," corpse-passions, and the sinful agonies of delight. Professo Praz has described the whole Romantic literature under one of its most characteristic aspects, that of erotic sensibility.
Lavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion. Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers. Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English. The painter-critic Eugène Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective. Benjamin considers armchair Orientalists concocting dreams from studio bric-à-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture. Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.
"This photographic opus expresses the sublime beauty of the people, nature, and places of this legendary region of India. From palaces to singular creative interiors, this promenade through the myriad colors and traditional handicrafts of Rajasthan captures the idealized Western dream of the Orient" -- Publisher's description.
The brilliant architect and designer Ettore Sottsass "made glass" from 1947 until the end of his career. This volume documents the entire period of his glass oeuvre, from the series he designed in the 1970s for Vistosi to the Memphis collections of the 1980s, the symbolic forms of the 1990s, the stunning constructions for the Millennium House in Qatar, and the famous Kachinas. The wealth of images, the analysis of design and painting together with the coeval cultural and artistic context, and the summary of works including many unpublished pieces make this volume edited by Luca Massimo Barbero the first scientific study on Ettore Sottsass's works in glass and crystal
Thomas Stearns and his collaboration with the Venini glassworks in the early Sixties in the new chapter of the series "Le Stanze del Vetro". The American artist Thomas Stearns (1936-2006) collaborated with the Venini glassworks as guest designer between 1960 and 1962. Thomas Stearns designed elegant blown-glasspieces with irregular features using various materials. Stearns was the first American to design for Venini; he won a on Fulbright Travel Grant, left Cranbrook Academy, and showed up in Murano with new ideas, but absolutely no knowledge of the Italian language. But, from this potentially disastrous situation grew a collection of ground-breaking designs that actually won the "Best of Show" award at the Venice Bienale of 1962. When the judges found out that the winner was not Italian, but a monolingual American, they actually rescinded the award. By then, however, it was pretty impossible to deny that Thomas Stearns had created something really special. Stearns' amazing designs proved too difficult to put into mass production, which made them even more special.
In this lively and pathbreaking book, William Monter sketches Europe's increasing acceptance of autonomous female rulers between the late Middle Ages and the French Revolution. Monter surveys the governmental records of Europe's thirty women monarchs—the famous (Mary Stuart, Elizabeth I, Catherine the Great) as well as the obscure (Charlotte of Cyprus, Isabel Clara Eugenia of the Netherlands)—describing how each of them achieved sovereign authority, wielded it, and (more often than men) abandoned it. Monter argues that Europe's female kings, who ruled by divine right, experienced no significant political opposition despite their gender.
The eloquent beauty of the vases produced in the workshops of the ancient Greeks is represented by a selection of pieces from the superb private collection of Molly and Walter Bareiss that spans more than a thousand years of the craft. From a delightful miniature stirrup vase dating ca. 1300 B.C. to prime examples of the molded vases from Augustan Rome, the Bareiss collection includes a splendid representative collection, guided by a sure instinct for the unique beauty of design and drawing. Assembled in this brief catalogue are illustrated discussions of forty-seven of the masterpieces from the 258 vases currently on loan to the Getty Museum. Dietrich von Bothmer, Chairman of Greek and Roman Art at the Metropolitan Museum of Art, introduces this most important collection, one with which he has been intimately involved since its conception, advising, studying, interpreting, and even piecing together shattered vases. Following the individual catalogue entries is a full checklist of an additional 205 vases that are on loan to the Getty Museum.