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Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
A gloriously illustrated examination of the origins and development of the nude as an artistic subject in Renaissance Europe Reflecting an era when Europe looked to both the classical past and a global future, this volume explores the emergence and acceptance of the nude as an artistic subject. It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective. This book presents works by Albrecht Dürer, Lucas Cranach, and Martin Schongauer in the north and Donatello, Raphael, and Giorgione in the south; it also introduces names that deserve to be known better. A publication this rich in scholarship could only be produced by a variety of expert scholars; the sixteen contributors are preeminent in their fields and wide-ranging in their knowledge and curiosity. The structure of the volume—essays alternating with shorter texts on individual artworks—permits studies both broad and granular. From the religious to the magical and the poetic to the erotic, encompassing male and female, infancy, youth, and old age, The Renaissance Nude examines in a profound way what it is to be human.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
“The first comprehensive listing of these ships in English. . . . Profusely illustrated [and] impressively informative.” —Midwest Book Review The origins of a permanent French sailing navy can be traced to the work of Cardinal Richelieu in the 1620s, but this naval force declined rapidly in the 1650s and a virtually new Marine Royale had to be re-created by Colbert from 1661. Thereafter, Louis XIV’s navy grew rapidly to become the largest and most powerful in the world, at the same time establishing a reputation for the quality of its ship design that lasted until the end of sail. The eighteenth century was to see defeat and decline, revival and victory, but by 1786 the French Navy had emerged from its most successful naval war having frequently outfought or outmaneuvred the British Navy in battle, and in the process making a major contribution to American independence. This book provides significant technical and building data as well as highlights of the careers of each ship in every class. For the first time, it is possible to form a clear picture of the overall development of French warships throughout the whole of the sailing era. “A handy and quick reference to a variety of vessels . . . [A] top notch reference book.” —British Tars, 1740-1790
"During his lifetime (1690-1743), and throughout the greater part of the eighteenth century, Nicolas Lancret was one of the most celebrated artists in France. After nearly two centuries of having been overshadowed by the work of certain contemporaries (notably Watteau), the singular appeal and sophisticated charm of Lancret's genre paintings are once more widely recognized and appreciated." "This is the first book in English about Lancret, a key force in the development of the visual arts in eighteenth-century France. As one of the leading artists of his time, Lancret counted among his patrons the crowned heads of Europe, along with major connoisseurs among the aristocracy and in the financial community. He was also the favorite genre artist of Louis XV, who commissioned paintings from him for various royal residences--especially Versailles and Fontainebleau." "The reasons for Lancret's popularity and success are apparent in the paintings and drawings splendidly reproduced in this book. His pictures tell lively and intelligible stories, his themes are inventive and entertaining, and his color combinations are bright and striking. His images made the transition from decorative painting to engraving with ease, and then proceeded to capture the popular imagination in much the same way as amusing gossip." "As he matured, Lancret developed his talent for narrative--for a visual form of storytelling that is subtle and sophisticated, yet also ingenuous and folkloric. This tradition in European art was strong and continuous, as reflected in the work of its most famous adherents, Hogarth and Greuze. No eighteenth-century painter was more firmly centered and active in that tradition than Nicolas Lancret."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The Nobel Prize winner’s catalog of his Istanbul museum is like “wandering past the illuminated windows of an arcade. . . . This book spills over with pleasure”(The New York Times). The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel of lost love, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk’s catalog of this remarkable museum, he writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul (illustrated with Pamuk’s superb collection of haunting photographs and movie stills), and of course the customs and traditions of his beloved city. The book’s imagery is equally evocative, ranging from the ephemera of everyday life to the superb photographs of Turkish photographer Ara Güler. Combining compelling visual images and writing, The Innocence of Objects is an original work of art and literature.