Italian Painters: The Borghese and Doria-Pamfili Galleries in Rome PDF Download
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Author: Giovanni Morelli
Publisher:
ISBN:
Category : Painters
Languages : en
Pages : 490
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Book Description
Author: Giovanni Morelli
Publisher:
ISBN:
Category : Painters
Languages : en
Pages : 490
Get Book Here
Book Description
Author: Giovanni Morelli
Publisher:
ISBN:
Category : Painters
Languages : en
Pages : 494
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Book Description
Author: Giovanni Morelli
Publisher:
ISBN:
Category : Art criticism
Languages : en
Pages : 450
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Author:
Publisher:
ISBN:
Category : Antiques
Languages : en
Pages : 466
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Book Description
Author: Carole Paul
Publisher: Routledge
ISBN: 1351545922
Category : Art
Languages : en
Pages : 359
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Book Description
The redecoration of the exhibition spaces at the Borghese palace and villa, undertaken together with the reinstallation of the family's vast art collections, was one of the most important events in the cultural life of eighteenth-century Rome. In this comprehensive study, Carole Paul reconstructs the planning and execution of the project and explains its multifaceted significance: its place in the history of Italian art, architecture, and interior design at a complex moment of transition from baroque to neoclassical style, as well as its unrecognized but profound influence on the development of the modern art museum. The study shows how the installations and decorations worked together to evoke traditional themes in innovative ways. Addressed primarily to a new audience of tourists from abroad, the thematic content of the spaces celebrated the greatness of the Borghese family and of Roman tradition, while their stylistic diversity and sophistication made a case for the continued vitality - even modernity - of Roman art and culture. Designed for the exercise of a highly refined social performance, these sites helped to model the experience of art as a form of enlightened modern civility.
Author: Louise Rogers Jewett
Publisher:
ISBN:
Category : Aesthetics
Languages : en
Pages : 190
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Author: Piers Baker-Bates
Publisher: Routledge
ISBN: 1351549405
Category : Art
Languages : en
Pages : 267
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Book Description
Sebastiano del Piombo (c.1485-1547) was a close associate and rival of the central artistic figures of the High Renaissance, notably Michelangelo and Raphael. After the death of Raphael and the departure of Michelangelo from Rome, Sebastiano became the dominant artistic personality in the city. Despite being one of most significant artistic figures of the period, he remains the last artist of major importance in the western canon about whom no recent work has been published in English. In this study, Piers Baker-Bates approaches Sebastiano?s career through analysis of the patrons he attracted following his arrival at Rome. The first half of the book concentrates on Sebastiano?s network of patrons, predominantly Italian, who had strong factional ties to the Imperial camp; the second half discusses Sebastiano?s relationship with his principal Spanish patrons. Sebastiano is a leading example of a transcultural artist in the sixteenth century and his relationship with Spain was fundamental to the development of his careerThe author investigates the domination of Sebastiano?s career by patrons who had geographically different origins, but who were all were members of a wider network of Imperial loyalties. Thus Baker-Bates removes Sebastiano from the shadow of his contemporaries, bringing him to life for the reader as an artistic personality in his own right. Baker-Bates? characterization of the Rome in which Sebastiano made his career differs from previous scholarly accounts, and he describes how Sebastiano was ideally suited to flourish in the environment he depicts.Sebastiano del Piombo and the World of Spanish Rome thus re-appraises not only Sebastiano?s place in the canon of Renaissance art but, using him as a lens, also the cultural worlds of Early Modern Italy and Spain in which he operated.
Author: Thierry Lenain
Publisher: Reaktion Books
ISBN: 1861899599
Category : Art
Languages : en
Pages : 386
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Book Description
With the recent advent of technologies that make detecting art forgeries easier, the art world has become increasingly obsessed with verifying and ensuring artistic authenticity. In this unique history, Thierry Lenain examines the genealogy of faking and interrogates the anxious, often neurotic, reactions triggered in the modern art world by these clever frauds. Lenain begins his history in the Middle Ages, when the issue of false relics and miracles often arose. But during this time, if a relic gave rise to a cult, it would be considered as genuine even if it obviously had been forged. In the Renaissance, forgery was initially hailed as a true artistic feat. Even Michelangelo, the most revered artist of the time, copied drawings by other masters, many of which were lent to him by unsuspecting collectors. Michelangelo would keep the originals himself and return the copies in their place. As Lenain shows, authenticity, as we think of it, is a purely modern concept. And the recent innovations in scientific attribution, archaeology, graphology, medical science, and criminology have all contributed to making forgery more detectable—and thus more compelling and essential to detect. He also analyzes the work of master forgers like Eric Hebborn, Thomas Keating, and Han van Meegeren in order to describe how pieces baffled the art world. Ultimately, Lenain argues that the science of accurately deciphering an individual artist’s unique characteristics has reached a level of forensic sophistication matched only by the forger’s skill and the art world’s paranoia.
Author: Gail Feigenbaum
Publisher: Getty Publications
ISBN: 1606062980
Category : Art
Languages : en
Pages : 388
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Book Description
This book explores the principles of the display of art in the magnificent Roman palaces of the early modern period, focusing attention on how the parts function to convey multiple artistic, social, and political messages, all within a splendid environment that provided a model for aristocratic residences throughout Europe. Many of the objects exhibited in museums today once graced the interior of a Roman Baroque palazzo or a setting inspired by one. In fact, the very convention of a paintings gallery— the mainstay of museums—traces its ancestry to prototypes in the palaces of Rome. Inside Roman palaces, the display of art was calibrated to an increasingly accentuated dynamism of social and official life, activated by the moving bodies and the attention of residents and visitors. Display unfolded in space in a purposeful narrative that reflected rank, honor, privilege, and intimacy. With a contextual approach that encompasses the full range of media, from textiles to stucco, this study traces the influential emerging concept of a unified interior. It argues that art history—even the emergence of the modern category of fine art—was worked out as much in the rooms of palaces as in the printed pages of Vasari and other early writers on art.
Author: Laurence Simmons
Publisher: BRILL
ISBN: 9004501002
Category : Social Science
Languages : en
Pages : 298
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Book Description
Freud’s Italian Journey takes the psychoanalytical texts of Freud on the visual arts and literature as its objects for analysis. While the biographical figure of Freud appears throughout its pages, it is not simply a psychobiographical reading of Freud, his personal circumstances and their relationship to his texts. Rather the processes of interpretation begun by Freud are turned on Freud himself, thus eventually displacing and questioning his theoretical mastery. Freud’s Italian Journey also argues that Freud’s interest in, frequent journeys to, and obsession with Italy profoundly shaped and informed his elaboration of psychoanalysis. The volume organizes its material around the major Italian cities which were the destinations of Freud’s travel, and the sites of the artworks he examined. Freud’s many Italian holidays were crucial for his self-analysis and methodology, but it is also argued here that his papers on Italian subjects must be read as texts marked by fascination and allurement, crossed with anxiety and resistance, inscribed by memory and forgetting. Journeys to Italy heightened Freud’s sense of the visual, and it is contended that the visual dimension of Freud’s writing is crucial to an understanding of his elaboration of the theory of psychoanalysis. The relation between image and text is at the heart of Freud’s analysis of works of art as he founds a critical methodology in which the two are interrelated, image illustrating idea and idea needing to express itself in image, but neither finally resolvable into the other. Thus the argument of Freud’s Italian Journey follows as its model the famous elaboration of the fort:da game by Freud, moving back and forth between Freud’s life and his texts, between psychoanalytical and philosophical systems, between the written and the visual. This leads to the broader conclusion that Freud might provide the key to a new practice of criticism, and a new way of ‘seeing’ and understanding visual images.
