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Robert Lehman, one of the foremost art collectors of his generation, embraced traditional and modern masters. This work catalogues 130 nineteenth- and 20th-century paintings that are part of the Robert Lehman Collection at the Metropolitan Museum. It includes paintings by Ingres, Theodore Rousseau, and Corot among other early 19th-century artists. In addition to a group of early German drawings, this collection includes a Saint Paul from a series associated with Jan van Eyck and the famous Scupstoel from the circle of Rogier van der Weyden. It discusses all drawings, placing each in its art historical setting and complementing it with comparative illustrations of related works.
The phenomenon of collecting as a systematic activity undertaken for symbolic rather than actual needs, is traditionally taken to originate in the middle of the fifteenth century, when the first cabinets of curiosities appear in Italy. Yet it is clear that the practice of collecting started long before that, indeed its origins can be traced back thousands of years to European prehistoric communities. Whilst this early genesis is, due to lack of written records, still shrouded in much mystery, The Nature of Classical Collecting argues that the collecting practices of classical Greece and Rome offer a rich tapestry of experiences which can be reconstructed to illuminate a pivotal period in the long and ever developing phenomenon of collecting. Utilizing a wide variety of examples of classical collections - including grave goods, the accumulations of Greek temples and open-air shrines, the royal collections of Hellenistic kings, Roman art and curiosity collections, and relics - The Nature of Classical Collecting focuses on the field of the 'pre-history' of collecting, a neglected yet critical phase that helped crystallize the western concept of collecting. Drawing primarily on Latin writings from the period 100 BCE to 100 CE it shows how collecting underwent a transition from a religious and political activity, to an intellectual practice in which connoisseurship could impart social status. It also demonstrates how the appreciation of objects and artists changed as new qualities were attributed to material culture, resulting in the establishment of art markets, patronage and an interest in the history of art. By exploring these early developments, The Nature of Classical Collecting not only provides a fascinating insight into the culture of late Hellenistic/early Imperial Roman collecting, but also offers a much fuller grounding for understanding the influences and inspirations of those Renaissance collectors who themselves were to have such a profound influence on the course of European art, architecture and culture.
This book is the first to examine the brilliant gathering of composers, conductors, and other musicians who fled Nazi Germany and arrived in the Los Angeles area. Musicologist Dorothy Lamb Crawford looks closely at the lives, creative work, and influence of sixteen performers, fourteen composers, and one opera stage director, who joined this immense migration beginning in the 1930s. Some in this group were famous when they fled Europe, others would gain recognition in the young musical culture of Los Angeles, and still others struggled to establish themselves in an environment often resistant to musical innovation. Emphasizing individual voices, Crawford presents short portraits of Igor Stravinsky, Arnold Schoenberg, and the other musicians while also considering their influence as a group—in the film industry, in music institutions in and around Los Angeles, and as teachers who trained the next generation. The book reveals a uniquely vibrant era when Southern California became a hub of unprecedented musical talent.
This book is devoted to 250 years of collecting, organizing and preserving paleontological specimens by generations of scientists. Paleontological collections are a huge resource for modern research and should be available for national and international scientists and institutions, as well as prospective public and private customers. These collections are an important part of the scientific enterprise, supporting research, public education, and the documentation of past biodiversity. Much of what we are beginning to understand about our world, we owe to the collection, preservation, and ongoing study of natural specimens. Properly preserved collections of fossil marine or terrestrial plants and animals are archives of Earth's history and vital to our ability to learn about our place in its future. The approach employed by the editors involves not only an introduction to the paleontological collections in general, but also information on the international and national collection networks. Particular attention is given to new exhibition concepts and approaches of sorting, preserving and researching in paleontological collections and also their neglect and/or threat. In addition, the book provides information on all big public museums, on important state museums and regional Museums, and also on university collections. This is a highly informative and carefully presented book, providing scientific insight for readers with an interest in fossil record, biodiversity, taxonomy, or evolution, as well as natural history collections at large.
On Collecting examines the nature of collecting both in Europe and among people living within the European tradition elsewhere. Susan Pearce looks at the way we collect and what this tells us about ourselves and our society. She also explores the psychology of collecting: why do we bestow value on certain objects and how does this add meaning to our lives? Do men and women collect differently? How do we use objects to construct our identity? This book breaks new ground in its analysis of our relationship to the material world.
Since before the myth of Pygmalion bringing a statue to life through desire, artists have used sculpture to explore the physical materiality of the body. This groundbreaking volume examines key sculptural works from thirteenth-century Europe to the global present, revealing new insights into the strategies artists deploy to blur the distinction between art and life. Three-dimensional renderings of the human figure are presented here in numerous manifestations, created by artists ranging from Donatello and Edgar Degas to Kiki Smith and Jeff Koons. Featuring works created in media both traditional and unexpected—such as glass, leather, and blood—Like Life presents sculpture by turns conventional and shocking, including effigies, dolls, mannequins, automata, waxworks, and anatomical models. Texts by curators and cultural historians as well as contemporary artists complete this provocative exploration of realistic representations of the human body. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Ringer approaches womanhood from two directions: an examination of ways that women’s identities are tied to domestic spaces, like homes, cars, grocery stores, and daycare centers; and a consideration of physical, sexual, and political violence against women, both historically and in the present day. Lehmann’s poems look outward, and go beyond cataloguing trespasses against women by biting back against patriarchal systems of oppression, and against perpetrators of violence against women. Many poems in Ringer are ecopoetical, functioning in a “junk” or “sad” pastoral mode, inhabiting abandoned, forgotten, and sometimes impoverished landscapes of rural America.