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J. Paul Getty had a passion for the exquisitely made furniture and decorative objects of eighteenth-century France, which he began collecting in the 1930s. Gillian Wilson, curator of decorative arts since 1971, has broadened and strengthened the collection, adding Boulle furniture, mounted oriental porcelain, tapestries, clocks, ceramics, and more. In the 1980s and 1990s the Museum continued to enlarge its decorative arts holdings, creating a European sculpture department in 1984 and adding glass, maiolica, goldsmiths’ work, pietre dure, and furniture from Italy and Northern Europe. This book is a revised and expanded edition of Decorative Arts: An Illustrated Summary Catalogue of the Collection of the J. Paul Getty Museum (1993). In addition to more than forty recent acquisitions—among these four wall sconces from Versailles that once belonged to Marie Antoinette and an elaborate upholstered bed from the collection of Karl Lagerfeld—it includes the results of years of research. Designed for scholars, students, and devotees of the decorative arts, this volume provides a comprehensive look at the Getty's fine collection.
An illustrated encyclopedia with 1000 photos of over 700 nineteenth century French sculptors including Rodin, Barye, d'Angers and Carpeaux, with biographies, listings of works (with size and foundry when known), museum pieces in France and elsewhere, and recent sales. Also provides an overview of 19th century bronze sculpture, the foundries that cast the bronzes, and methods used to cast works.
One of the 17th century's most influential craftsmen is showcased in this monograph, highlighting the work of André Charles Boulle. The study reveals how the man renowned as the preeminent artist of marquetry--the art of applying pieces of veneer to fashion decorative patterns--gave birth to a new aesthetic through his chosen medium. Boulle's level of refinement is illustrated, portraying an execution that was unique in his time, earning him the title of Ebéniste Ciseleur et Marqueteur du Roi--Cabinetmaker, Carver, and Marqueter King--as well as the envy of crowned heads, princes, and rich collectors throughout Europe. The artist's innovative genius in spatial conception, rare and pioneering mastery of gilt bronze, and marquetry using the rarest materials are all celebrated in detail. Recollecting the century of Louis XIV and Peter the Great, this history reflects on the genesis of many attributes of modernity that were to flourish in later years.
Originally published: New York: Hawthorn Books, 1965.
"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.
Ethnographic study of cultural politics in the contemporary Egyptian art world, examining how art-making is a crucial aspect of the transformation from socialism to neoliberalism in postcolonial countries.
A commitment to modernity is the underlying theme of this volume. Through essays that are interpretive and theoretical, the author seeks to situate the modern in contemporary cultural practice. She sets up an ideological vantage point to view modernism along its multiple tracks in India and the third world.The essays divide into three sections. The first two sections, Artists and ArtWork and Film/Narratives, raise questions of authorship, genre, and contemporary features of national culture that materialize into an aesthetic in the Indian context. The last section, Frames of Reference, formalizes the polemical options developed across the book. The essays here propose resistance to the depoliticization of narratives, and affirm an open-ended engagement with the avant-garde. They explore the possibility of art practice finding its own signifying space that is still a space for radical transformation.Geeta Kapur is an independent art critic and curator living in New Delhi. Her extensive publications on modern Indian art include the book Contemporary Indian Artists (Delhi, 1978), exhibition catalogues and monographs on artists. She is currently writing a monograph on Tyeb Mehta. Her essays on cultural criticism have been widely presented in forums of art history and cultural studies. Her curatorial work includes the show Bombay/Mumbai 1992 2001 in the multi-part exhibition titled Century City: Art and Culture in the Modern Metropolis , at Tate Modern, London, in 2001. Geeta Kapur is a founder-editor of the Journal of Arts & Ideas and advisory editor to Third Text. She has held research fellowships at Indian Institute of Advanced Study, Shimla, Nehru Memorial Museum and Library, New Delhi, and Clare Hall, Cambridge University. For the past three decades, [Geeta Kapur s] has been the singular dominant presence in the field to a point that her writings alone seem to have constituted the whole field of modern Indian art theory and criticism. Tapati Guha-Thakurta, Biblio (Delhi), May June 2001. Geeta Kapur is a magisterial presence in the sphere of modern Indian art. [The] insistence on the primacy of bearing witness to creative practice has been the leitmotif of Kapur s work. . . . Kapur s contribution . . . is best understood by reflection on the radical change that her activity has brought about in Indian art criticism. Ranjit Hoskote, Art India (Mumbai), Vol. VI, 1, 2001. When Was Modernism is a book of essays: imaginative, interpretive, argumentative, polemical, political and, in the combined sense of all these, historical. . . . [It] provides an instance of passionate engagement that, at its best moments, verges on the poetic. Chaitanya Sambrani, ART AsiaPacific (Australia), Issue 30, 2001.
This catalogue features daggers in numerous examples dating from the fourteenth to the eighteenth century and provides a history of not only the daggers in The Metropolitan Museum of Art's collection, but also the broader history of daggers in general. The illuminating text traces the dagger's development and mode of use throughout the time period while also differentiating it from concurrent development of swords. Included in the text are helpful line illustrations that better show the form and decoration of the daggers, accompanied by a plate section, which allows for easy comparison of the works.