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"Twenty years after its first appearance in 1995, Francesca Baldassari presents a revised and updated edition of her acclaimed monograph on the most important painter of the Florentine Seicento: Carlo Dolci (1616-1687). In the present volume the author provides further insight into Dolci's artistic personality with the aid of unpublished documents and paintings, reconstructing his widespread critical "fortune", as well as "misfortune", and dedicating to him essays that interpret his art from a variety of different angles: his early artistic training, the influence of Humanism and Renaissance painting and sculpture, his relationship with Medici patronage, and the far-reaching importance of his own artistic legacy."--[bookjacket].
Carlo Dolci (1616-1687), arguably the greatest painter in 17th-century Florence, was admired and patronized by the city's leading families. Best known for his half-length and single-figure devotional pictures, Dolci was also a gifted painter of altarpieces and portraits. Written by a team of distinguished scholars, The Medici's Painter offers new archival discoveries and insights and features cross-disciplinary approaches to Dolci's life and art and the cultural and political contexts in which he worked. The volume sheds new light on Dolci's significant and impressive body of work. The painter understood the power of his paintings to inspire contemporaries, and his works continue to compel individuals to look closely and feel deeply about art.
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States. The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s. A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries. In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid traces how Flemish immigrant painters and imported Flemish paintings fundamentally transformed the development of Spanish taste, collecting, and art production in the Spanish “Golden Age.”
The J. Paul Getty Museum Journal III is a compendium of articles and notes pertaining to the Museum’s permanent collection of paintings. This volume includes an introduction by Burton B. Fredericksen and an illustrated essay of recent acquisitions of paintings. Volume III includes essays on paintings written by Burton Fredericksen, Eric Young, Jean-Luc Bordeaux, with a principal article on Raphael’s Madonna di Loreto by Burton Fredericksen. This is also the first volume to be issued since the recent and much regretted passing of J. Paul Getty, the Museum’s founder. The principal article of this volume, the one on Raphael’s Madonna di Loreto, was one that he was especially concerned with and interested in. The Raphael was always a subject close to his heart. He was an eager student of Raphael and everything that touched on his favorite picture, and it is only appropriate that the article, which is a summary discussion of the picture’s provenance, be dedicated to him.
This volume is the first in-depth analysis of how infirm bodies were represented in Italy from c. 1400 to 1650. Through original contributions and methodologies, it addresses the fundamental yet undiscussed relationship between images and representations in medical, religious, and literary texts. Looking beyond the modern category of ‘disease’ and viewing infirmity in Galenic humoral terms, each chapter explores which infirmities were depicted in visual culture, in what context, why, and when. By exploring the works of artists such as Caravaggio, Leonardo, and Michelangelo, this study considers the idealized body altered by diseases, including leprosy, plague, goitre, and cancer. In doing so, the relationship between medical treatment and the depiction of infirmities through miracle cures is also revealed. The broad chronological approach demonstrates how and why such representations change, both over time and across different forms of media. Collectively, the chapters explain how the development of knowledge of the workings and structure of the body was reflected in changed ideas and representations of the metaphorical, allegorical, and symbolic meanings of infirmity and disease. The interdisciplinary approach makes this study the perfect resource for both students and specialists of the history of art, medicine and religion, and social and intellectual history across Renaissance Europe.
"[V. 1] contains all the paintings belonging to the museum as of October, 1971, plus a few of the more important acquisitions made before the manuscript was submitted to the printer five months later." -- Preface.