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"In the Age of Giorgione assembles many of the works attributed to Giorgione, along with masterpieces by Titian, Lorenzo Lotto, Sebastiano del Piombo and Giovanni Cariani, among others. This volume includes landscapes, portraits and devotional works, all exemplars of the exceptional richness of colour and mood that were to become the hallmark of the Golden Age of Venetian painting." -- Publisher's description
This 48-page book is the first in the series Artists' Laboratory. It includes an essay by the late Norbert Lynton on McKeever's Hartgrove Paintings, and a conversation between McKeever and a fellow Academician, the sculptor Richard Deacon, in which the two artists discuss their respective practices and their relationship with photography.48pp, 30 illustrations, softback with a dustjacket.
"Exhibition organized by the Cleveland Museum of Art and the Royal Academy of Arts, London."
What happened when Thompson Dunbar convinced all 32 women students in the Mormon boarding school to elope and marry him? Jerome Pinnickson's mother-in-law was determined to earn his affection. Modern babies are far more difficult than babies were in the past, and ten more stories.
This is the first full-scale survey of the art and life of Terry Setch (b.1936), a British painter recognised internationally as one of the most consistently radical artists of his generation. It provides a critical structure and historical perspective with which to explore Setch's artistic production over fifty years. Martin Holman's text considers Setch's work in terms of the themes that he has sustained over the course of his career, and the qualities that have made him admired by several generations of British artists. It places his art in the context of the work of his contemporaries (Michael Sandle, Patrick Caulfield, Julian Schnabel), the times in which the paintings were made and exhibited, and Setch's dialogue with Modernism, international art and history.
Værker af den britisk-nigerianske kunster Yinka Shonibare (f. 1962)
Writing at the time of political and social crisis in Athens, Aristophanes was an eloquent yet bawdy challenger to the demagogue and the sophist. The Achanians is a plea for peace set against the background of the long war with Sparta.
When Claude Monet exhibited his paintings for the first time in Paris, he acknowledged no teacher, intending to claim complete originality for his works. Since then, many writers have sought to corroborate his originality, latching on to statements such as What I do here will at least have the merit of not resembling anybody. Because it is simply the expression of what Ive experienced by myself (letter to Bazille, 1866). In actual fact, Monet was gregarious, passionately interested in the paintings of his predecessors and contemporaries, and he made a common political cause with his fellow impressionists, being a principal organizer of their first exhibitions. This book aims to recreate the artistic milieu of Monet and show his rapport with the unconventional non-academic currents of French art including the preceding generation of landscapists of the Fontainebleu School and the succeeding generation, including Paul Gauguin. Paintings by Claude Monet, approximately 20 in all, are grouped with the works of other artists connected to Monet to suggest the range of his experience, his influences, and the influence of his art, from his beginnings in the 1860s to the years after 1900. The artists used for comparison include greats such as Renoir, Sisley, Pissarro, Degas and Cezanne.