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This exhibition is a once-in-a-lifetime opportunity to see around 100 exceptional drawings created using the exquisite metalpoint technique. It features works by some of the greatest artists working from the late 14th century to the present including Rogier van der Weyden, Petrus Christus, Leonardo da Vinci, Raphael, Albrecht Dürer, Hans Holbein the Elder, Lucas van Leyden, Rembrandt, Edward Burne-Jones, William Holman Hunt, Otto Dix, Jasper Johns and Bruce Nauman. Works drawn from the British Museum's superb collection of metalpoint drawings sit alongside major loans from European and American museums as well as private collections, including four sheets by Leonardo da Vinci from the Royal Collection.--British Museum website.
This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times—crucibles of innovation—where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.
A fascinating survey into Buccellati style: a blend of past with present, of form, function and design lie at the heart of the work.
We all have a responsibility to care for culture. Artist Makoto Fujimura issues a call to cultural stewardship, in which we feed our culture's soul with beauty, creativity, and generosity. This is a book for artists and all "creative catalysts" who understand how much the culture we all share affects human thriving today and shapes the generations to come.
This book reviews the history and historiography of metalpoint and its use for drawing and writing. ,
The stormy and often war-torn history of Hungary has been the background for a flourishing industry of gold and silversmith's work. Unfortunately, Hungarian silver is little known outside Hungary, but the outstanding collection of pieces acquired in the West over the last three decades by Nicolas Salgo and spanning more than four centuries of the goldsmith's craft provides a highly representative survey of the remarkable work of the Hungarian craftsmen. More than one hundred and twenty works have been brought together and illustrated in this book; maker's marks are identified whenever possible and reproduced alongside the pieces on which they appear. Provenance and literature are also provided. An outline history of Hungary, followed by a brief survey of the goldsmith's craft and of the guild system, set the pieces in their historical context, while notes on the goldsmiths represented in the collection and an appendix of makers' and town marks complete this invaluable book.
Henry VIII amassed the most spectacular collection of gold and silver of any British monarch. Plate and jewels were hugely prominent in medieval and Renaissance courts and played an essential role in dynastic marriages and diplomacy as well as in cementing the bonds between king and court. Ranging from plain domestic wares to extraordinary bejewelled works of art, Henry's collection embraced virtuoso continental objects as well as vast quantities of plate commissioned from London goldsmiths or inherited from his father. But nearly all of these holdings were destroyed over the following century, and of the thousands that he owned no more than a handful have survived to modern times. This book makes use of the wealth of surviving documentation - inventories, drawings, lists of payments, dispatches by foreign ambassadors and other records - to explore this lost collection and the light it sheds on the monarchy. Starting with an assessment of the young king's inheritance from his father, the book considers the role of plate at state banquets, in great church services and in the regular exchange of gifts between courtiers and ambassadors; the role of plate and jewels as a potent symbol of power; how the king used confiscation as an instrument of humiliation of those who fell from grace, including Cardinal Wolsey and Katherine of Aragon; and how Henry's avaricious seizure of church plate towards the end of his life throws light on his changing character. While the focus is on plate and goldsmiths' work, the context ranges from court ceremonial to rivalry between princes, the role of the church, the vulnerability of persons and institutions with covetable assets, and relations between the king and his own family. Bringing the existence and significance of these lost riches back to life, the book sheds new light on Henrician and Tudor court culture.
The first book to examine the rich jewelry traditions of the Batak people in Indonesia is a gorgeous tribute to a vanishing way of life. Batak jewelry is characterized by a wide variety of materials and forms, and has many functions: Jewels can be status symbols, badges of rank, attributes of membership into a certain age group, amulets and talismans, or simply ornaments. Men, women, small children, and even babies were once adorned with gold, silver, brass, bronze, or the gold-and-copper alloy known as suasa. Today, the Batak wear traditional jewelry only for celebrations like weddings, and these stunning works are rapidly disappearing, being melted down or sold. The nearly 300 precious works shown here are artifacts of a once-flourishing jewelry tradition.
Issued in conjunction with the exhibition Caravans of Gold, Fragments in Time, held January 26, 2019-July 21, 2019, Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Illinois.