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First published in 1930, this book deals with Byzantine art, not as an isolated province, but as one intimately connected with the subsequent history of European painting. After a summary of the whole question in its relation to modern art, the second chapter opens with a novel analysis of the iconoclast controversy, and shows how it was only by this movement that Hellenistic naturalism was finally vanquished and the seed of interpretational art planted in Europe in its stead. The third chapter reveals how this seed was nourished by the Constantinopolitan Renascence, and how that event, combined with the increasing humanisation of religious emotion, culminated, not only in Duccio and Giotto, but in the equally important work of their contemporaries at Mistra and Mount Athos. A detailed account of these works is given and in the last part of the book, the mystery of El Greco is finally resolved. The book is based, not only on extensive research but on personal observation of nearly all the works mentioned, in Constantinople, Greece, Crete, Italy, and Spain. It is an important and exciting addition to the history of European Art and establishes, scientifically, theories which only existed in conjecture before its publication. The book includes 94 black and white plates.
Alessandra Cecchi is not quite fifteen when her father, a prosperous cloth merchant, brings a young painter back from northern Europe to decorate the chapel walls in the family’s Florentine palazzo. A child of the Renaissance, with a precocious mind and a talent for drawing, Alessandra is intoxicated by the painter’s abilities. But their burgeoning relationship is interrupted when Alessandra’s parents arrange her marriage to a wealthy, much older man. Meanwhile, Florence is changing, increasingly subject to the growing suppression imposed by the fundamentalist monk Savonarola, who is seizing religious and political control. Alessandra and her native city are caught between the Medici state, with its love of luxury, learning, and dazzling art, and the hellfire preaching and increasing violence of Savonarola’s reactionary followers. Played out against this turbulent backdrop, Alessandra’s married life is a misery, except for the surprising freedom it allows her to pursue her powerful attraction to the young painter and his art. The Birth of Venus is a tour de force, the first historical novel from one of Britain’s most innovative writers of literary suspense. It brings alive the history of Florence at its most dramatic period, telling a compulsively absorbing story of love, art, religion, and power through the passionate voice of Alessandra, a heroine with the same vibrancy of spirit as her beloved city.
A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.
A must-have for any art buff, this definitive who's who of Impressionism gathers 10 monographs from the Basic Art series for the price of three. Precise texts and impeccable reproductions guide us through the life and works of Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh.
This fascinating look at artist Thomas Cole's life takes readers from his humble beginnings to his development of a new painting style that became America's first formal art movement: the Hudson River school of painting. Thomas Cole was always looking for something new to draw. Born in England during the Industrial Revolution, he was fascinated by tales of the American countryside, and was ecstatic to move there in 1818. The life of an artist was difficult at first, however Thomas kept his dream alive by drawing constantly and seeking out other artists. But everything changed for him when he was given a ticket for a boat trip up the Hudson River to see the wilderness of the Catskill Mountains. The haunting beauty of the landscape sparked his imagination and would inspire him for the rest of his life. The majestic paintings that followed struck a chord with the public and drew other artists to follow in his footsteps, in the first art movement born in America. His landscape paintings also started a conversation on how to protect the country's wild beauty. Hudson Talbott takes readers on a unique journey as he depicts the immigrant artist falling in love with--and fighting to preserve--his new country.
Nationally acclaimed artist Ed Hamilton started writing this book to tell the story of his artistic development. Along the way, he found personal records that changed his perception of himself. The original hardback book was so well received that, less than a year after first publication, this paperback version is available.
A concise and readable introduction to Renaissance art.-publisher description.
Is art created with computers really art? This book answers ‘yes.’ Computers can generate visual art with unique aesthetic effects based on innovations in computer technology and a Postmodern naturalization of technology wherein technology becomes something we live in as well as use. The present study establishes these claims by looking at digital art’s historical emergence from the 1960s to the start of the present century. Paul Crowther, using a philosophical approach to art history, considers the first steps towards digital graphics, their development in terms of three-dimensional abstraction and figuration, and then the complexities of their interactive formats.
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less