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Discusses how European scientists from the High Middle Ages through the Enlightenment used wonders, monsters, curiosities, marvels, and other phenomena to envision the natural world.
Experience the uplifting power of art on this breathtaking visual tour of 2,500 paintings and sculptures created by more than 700 artists from Michelangelo to Damien Hirst. This beautiful book brings you the very best of world art from cave paintings to Neoexpressionism. Enjoy iconic must-see works, such as Leonardo da Vinci's Last Supper and Monet's Waterlilies and discover less familiar artists and genres from all parts of the globe. Art That Changed the World covers the full sweep of world art, including the Ming era in China, and Japanese, Hindu, and Indigenous Australian art. It analyses recurring themes such as love and religion, explaining key genres from Romanesque to Conceptual art. Art That Changed the World explores each artist's key works and vision, showing details of their technique, such as Leonardo's use of light and shade. It tells the story of avant-garde works like Manet's Le Dejeuner sur l'herbe (Lunch on the Grass), which scandalized society, and traces how one genre informed another - showing how the Impressionists were inspired by Gustave Courbet, for example, and how Van Gogh was influenced by Japanese prints. Lavishly illustrated throughout, look no further for your essential guide to the pantheon of world art.
"Bedaux brings the discussion of meaning in northern painting back to the basics: the description of real objects, the evocation of everyday associations, the employment of standard visual metaphors, symbols and allegories. With the first publication of an eighteenth-century iconographical program drawn up by the Hague painter Mattheus Verheyden, he demonstrates the continued importance of allegory, that stepchild of iconography." -- Cover page 4.
This book explores the interconnections and differentiations between artisanal workshops and alchemical laboratories and between the arts and alchemy from Antiquity to the eighteenth century. In particular, it scrutinizes epistemic exchanges between producers of the arts and alchemists. In the fifteenth and sixteenth centuries the term laboratorium uniquely referred to workplaces in which ‘chemical’ operations were performed: smelting, combustion, distillation, dissolution and precipitation. Artisanal workshops equipped with furnaces and fire in which ‘chemical’ operations were performed were also known as laboratories. Transmutational alchemy (the transmutation of all base metals into more noble ones, especially gold) was only one aspect of alchemy in the early modern period. The practice of alchemy was also about the chemical production of things--medicines, porcelain, dyes and other products as well as precious metals and about the knowledge of how to produce them. This book uses examples such as the Uffizi to discuss how Renaissance courts established spaces where artisanal workshops and laboratories were brought together, thus facilitating the circulation of materials, people and knowledge between the worlds of craft (today’s decorative arts) and alchemy. Artisans became involved in alchemical pursuits beyond a shared material culture and some crafts relied on chemical expertise offered by scholars trained as alchemists. Above all, texts and books, products and symbols of scholarly culture played an increasingly important role in artisanal workshops. In these workplaces a sort of hybrid figure was at work. With one foot in artisanal and the other in scholarly culture this hybrid practitioner is impossible to categorize in the mutually exclusive categories of scholar and craftsman. By the seventeenth century the expertise of some glassmakers, silver and goldsmiths and producers of porcelain was just as based in the worlds of alchemical and bookish learning as it was grounded in hands-on work in the laboratory. This book suggests that this shift in workshop culture facilitated the epistemic exchanges between alchemists and producers of the decorative arts.
"This catalogue examines one of the most important educational tools and sources of inspiration for Western artists for over five hundred years: drawing after the Antique. From the Renaissance to the 19th century, classical statues offered young artists idealised models from which they could learn to represent the volumes, poses and expressions of the human figure and which, simultaneously, provided perfected examples of anatomy and proportion. For established artists, antique statues and reliefs presented an immense repertory of forms that they could use as inspiration for their own creations. Through a selection of thirty-nine drawings, prints and paintings, covering more than four hundred years and by artists as different as Federico Zuccaro, Hendrick Goltzius, Peter Paul Rubens, Charles-Joseph Natoire, Henry Fuseli and Joseph Mallord William Turner, this catalogue provides the first overview of a phenomenon crucial for the understanding and appreciation of European art."--Page 2 of cover.