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Published as the catalogue of a travelling exhibition, 1976 and 1977.
This revised edition contains corrections, extra information to date the charts more correctly, descriptions of the title page and a portrait of Ortelius.
The study of provenance—the history of the creation and ownership of an artefact, work of art, or specimen—provides insights into the history of taste and collecting, illuminating the social, economic, and historic trends in which an object was created and collected. It is as much a history of people as it is of objects, and its study often reveals intricate networks of relationships, patterns of activity and motivations. This book promotes the study of the history of collecting and collections in all their variety through the lens of provenance, and explores the subject as a cross-disciplinary activity. Perhaps for the first time in a publication, it draws on expertise ranging from art history and anthropology, to natural history and law, looking at periods from antiquity through the 18th century and the Holocaust era to the present, and materials from Europe and the Americas to China and the Pacific. The issues raised are wide-ranging, touching on aspects of authenticity, cultural meaning and material transformation and economic and commercial drivers, as well as collector and object biography. The book fills a gap in the study of collecting and provenance, taking the subject holistically and from multiple standpoints, better to reflect the widening interest in provenance from a range of disciplinary perspectives. This book will be a service to the field, from established scholars and museum professionals to students of collecting history, cultural heritage, and museum studies.
The Blaue Reiter (Blue Rider) art movement was founded in 1911, by the young painters Wassily Kandinsky and Franz Marc, and remained active in Europe until 1914. Originally published in Munich, in 1912, and edited by Kandinsky and Marc, The Blaue Reiter Almanac presented the movement's synthesis of international culture to the European avant-garde at large. In both the selection of the essays and its innovative interplay of word and image, the Almanac remains one of the most critically important works on artistic theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of modernism, includes the original documents and musical notations, as well as essays by Kandinsky, Schonberg, Marc, and others, and an extensive critical introduction, placing the Blaue Reiter in context for contemporary readers.
History.
"Event Scores, involve simple actions, ideas, and objects from everyday life recontexualized as performance. Event Scores are texts that can be seen as proposal pieces or instructions for actions. The idea of the score suggests musicality. Like a musical score, Event Scores can be realized by artists other than the original creator and are open to variation and interpretation."--Artist's website
An oral-visual account of the origin and development of Happenings. Artists discussed include Dick Higgins, Alison Knowles, Carolee Schneemann, Allan Kaprow, Wolf Vostell, Nam June Paik, Claes Oldenburg, Meredith Monk, Jackson Mac Low, Yvonne Rainer, John Cage, etc.
The Frick Collection was founded by Henry Clay Frick (1849-1919), the Pittsburgh coke and steel industrialist, philanthropist and art collector. On his death, he bequeathed his New York residence and remarkable collection of western paintings, sculpture and decorative arts to the public. Designed and built in 1913-14, the mansion is reminiscent of the noble houses of Europe, providing a grand, domestic setting for the art from the Renaissance to the nineteenth century that it contains. The collection includes masterpieces by renowned artists such as Bellini, Constable, Fragonard, Goya, El Greco, Ingres, Rembrandt, Vermeer and Whistler, as well as superb examples of French eighteenth-century furniture, Italian Renaissance bronzes and Limoges enamels.