Renaissance and Baroque Paintings from the Sciarra and Fiano Collections PDF Download
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Author: Richard E. Spear
Publisher: Penn State University Press
ISBN:
Category : Art
Languages : en
Pages : 120
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Book Description
The discovery of an unknown collection of old master paintings is today a rare occurrence. This volume catalogues and illustrates more than sixty Italian, French, German, and Netherlandish paintings of outstanding quality from the fifteenth through the eighteenth centuries (including several masterpieces by major Baroque artists, such as Guido Reni, Carlo Maratta, and Luca Giordano). The provenance of many of these previously unpublished paintings was the distinguished Barberini collection. The author received the 1972 Dana Borghese Prize for this contribution to the study of Renaissance and Baroque painting.
Author: Richard E. Spear
Publisher: Penn State University Press
ISBN:
Category : Art
Languages : en
Pages : 120
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Book Description
The discovery of an unknown collection of old master paintings is today a rare occurrence. This volume catalogues and illustrates more than sixty Italian, French, German, and Netherlandish paintings of outstanding quality from the fifteenth through the eighteenth centuries (including several masterpieces by major Baroque artists, such as Guido Reni, Carlo Maratta, and Luca Giordano). The provenance of many of these previously unpublished paintings was the distinguished Barberini collection. The author received the 1972 Dana Borghese Prize for this contribution to the study of Renaissance and Baroque painting.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 109
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 111
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Book Description
Author: Richard E. Spear
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: Edgar Peters Bowron
Publisher: Penn State Press
ISBN: 0271079460
Category : Art
Languages : en
Pages : 203
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Book Description
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States. The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s. A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries. In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Author: Annick Lemoine
Publisher: Metropolitan Museum of Art
ISBN: 1588396029
Category : Art
Languages : en
Pages : 290
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Book Description
Following Caravaggio's death in 1610, the French artist Valentin de Boulogne (1591-1632) emerged as one of the great champions of naturalistic painting. The eminent art historian Roberto Longhi honored him as "the most energetic and passionate of Caravaggio's naturalist followers." In Rome, Valentin—who loved the tavern as much as the painter's pallette—fell in with a rowdy confederation of artists but eventually received commissions from some of the city's most prominent patrons. It was in this artistically rich but violent metropolis that Valentin created such masterworks as a major altarpiece in Saint Peter's Basilica and superb renderings of biblical and secular subjects—until his tragic death at the age of forty-one cut short his ascendant career. With discussions of nearly fifty works, representing practically all of his painted oeuvre, Valentin de Boulogne: Beyond Caravaggio explores both the the artist's superlative depictions of daily life and the tumultuous context in which they were produced. Essays by a team of international scholars consider his key attributions to European painting, his devotion to everyday objects and models from life, his technique of staging pictures with the immediacy of unfolding drama, and his place in the pantheon of French artists. An extensive chronology surveys the rare extant documents that chronicle his biography, while individual entries help situate his works in the contexts of his times. Rich with incident and insight, and beautifully illustrated in Valentin's complex, suggestive paintings, Valentin de Boulogne: Beyond Caravaggio reveals a seminal artist, a practitioner of realism in the seventeenth century who prefigured the naturalistic modernism of Gustave Courbet and Edouard Manet two centuries later.
Author:
Publisher:
ISBN:
Category : Painting, Baroque
Languages : en
Pages : 104
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Book Description
Author: Library of Congress
Publisher:
ISBN:
Category :
Languages : en
Pages : 632
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Book Description
Author: Library of Congress
Publisher:
ISBN:
Category : Subject catalogs
Languages : en
Pages : 1024
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Book Description
Beginning with 1953, entries for Motion pictures and filmstrips, Music and phonorecords form separate parts of the Library of Congress catalogue. Entries for Maps and atlases were issued separately 1953-1955.
Author: George Encil
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 440
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Book Description
Always, whenever George Encil acquired a new work of art, something completely ovbious, and yet very rare, then happened. He didn't just become the owner: rather he undertook a sponsorship. He has adopted a piece from the orphanage of the world's art supply and received it into his collection. In many cases, a deed was established which brought to the work an Interpretation which befitted it for the first time since the piece issued from the shaping hands of the artist. Each stage play, each performance of a piece of music, brings today nearly perfect expositions of its creator's intentions; only in the area of visual art, do people think it permissable to make a junk room out of the gallery, from which, in case of financial need, a piece can be thrown upon the slave block of the international art market. The author opposes this attitude wehemently. In the examples taken from the narrative of his experiences he demonstrates that with the acquisition of a work of art commences the duty of preserving it, of restoring it, finding the requisite frame, and alloting it a worthy place for itself. The exposition and proclamation of this conviction is the mission to which the author feels called. His report is an appeal for people to take an interest in the ever dwindling supply of works of art and he would prefer to see every collector become a godfather rather than a possessor; an interpreter rather than a beneficiary. This proclamation does not exempt public collections, in which, following exemplary interpretations, even stepchildren of art will be sheltered. A lifetime spent as a collector qualifies the author for this proclamation, and the presentation before us supports and explains this attitude.
