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Author: Sarah Campbell Blaffer Foundation
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 236
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Book Description
Author: Sarah Campbell Blaffer Foundation
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 236
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Book Description
Author: Anne Haack Christensen
Publisher:
ISBN: 9781909492714
Category : Artists' materials industry
Languages : en
Pages : 170
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Book Description
The papers in this volume were presented at the CATS international technical art history conference Trading Paintings and Painters' Materials 1550-1800 which explored international markets for paintings and artists' materials in the early modern period and their implications for artistic production. Questions central to these papers include: did preferences exist for artists' materials and paintings from specific geographical areas in particular places and if so why? How did the import of painting materials and artworks impact local production, connoisseurship and art theory? In what conditions were these artists' materials and finished artworks produced and traded in early modern Europe and beyond? The lavishly illustrated contributions in this volume deal with the above questions and shed light on different trades, products, countries and timeframes by combining a large variety of methods and sources, including visual analyses, written sources, pigment analyses and archaeological excavations. This fourth CATS Proceedings will be of interest to scholars and students, museum professionals, curators, conservators, art historians and conservation scientists.
Author: Brandon Henderson
Publisher: Universal-Publishers
ISBN: 1599426889
Category :
Languages : en
Pages : 190
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Book Description
The Dutch-born English Baroque portrait painter Sir Peter Lely (1618-1680) is chiefly known for his drowsy, sensual beauties and bewigged courtiers associated with the Restoration court of Charles II. He is often seen as merely successor or "imitator" of Sir Anthony Van Dyck (1599-1641), with a common resemblance in all his sitters and an inability to capture a true likeness, as well as an absence of any personal characterization or psychological interest. Alternately, this dissertation aims to reveal Lely's genius of superb draughtsmanship, fine color and lively composition, as well as to examine and reinstate the artist's impact and deep impress on British painting. Lely's early style owes much to his Dutch origin and training with the pioneers of Dutch classicism, and the distinctive qualities of his early work and the change in his traditions and techniques are examined. The development of Lely's portrait style is examined - from his arrival in England in the early 1640s through his years as leading aristocratic and society portraitist and Principal Painter to the King in the 1660s, to his mature work in the 1670s when his work is characterized by a restricted palette and cool restraint. And finally, Lely as collector is examined. He assembled one of the largest and most impressive private collections of art in seventeenth-century Europe, and his acquisitions and their influences, benefits and effects are considered. Upon Lely's death, his highly important collection was dispersed by auction in a series of four well-publicized sales in 1681, 1682, 1688 and 1694, respectively. These sales brought many important works to the London art market, and were some of the most important sales to date in England, as well as the most spectacular of the modern auction world. Although Lely initially emulated the style and techniques of Van Dyck, he juxtaposed his profound Dutch qualities of rich color, dramatic illumination and romantic landscapes, and ultimately imbued a sensuality, languor and luxurious negligence into the traditions and continuity of Van Dyck's grand Baroque style of English portraiture. Subsequently, together later with Sir Godfrey Kneller (1646-1723), Sir Peter Lely completely dominated British portraiture from the death of Van Dyck in 1641 until William Hogarth (1697-1764) challenged his style in the first half of the eighteenth century. Due to large file size, some images within this ebook do not appear in high resolution.
Author: National Gallery of Art (U.S.)
Publisher: Princeton University Press
ISBN:
Category : Architecture
Languages : en
Pages : 432
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Book Description
British masterpieces of grand-style portraiture and landscape painting are explored in this volume. Portraits such as Thomas Gainsborough's Mrs. Richard Brinsley Sheridan, as well as pictures by George Romney and Sir Henry Raeburn, attest to the influence of Sir Anthony van Dyck's more sophisticated European style on artists of the period. John Constable's Wivenhoe Park, Essex and Joseph Mallord William Turner's Keelmen Heaving in Coals by Moonlight are some of the best examples of British art of the eighteenth and nineteenth centuries.
Author: Judy Egerton
Publisher: Yale University Press
ISBN: 9780300125092
Category : Art
Languages : en
Pages : 684
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Book Description
George Stubbs is one of the greatest of British eighteenth-century painters, with a deep and unaffected sympathy for country life and the English countryside. This fully illustrated book outlines his career, followed by a catalogue raisonne (the first since Sir Walter Gilbey's short listing of 1898) of all his known works. One of the stickiest labels in the history of British art attached itself to Stubbs as 'Mr Stubbs the horse painter'. Over half of his paintings were of horses, each founded on the pioneering observations assembled (in 1766) in his book The Anatomy of the Horse; but Stubbs's wide-ranging subjects included portraits, conversation pieces and paintings of exotic animals from the Zebra to the Rhinoceros, as well as an extraordinarily sympathetic series of portraits of dogs.
Author: Thomas Tolley
Publisher: Routledge
ISBN: 1351555251
Category : Music
Languages : en
Pages : 531
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Book Description
From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.
Author: Kathleen Christian
Publisher: Manchester University Press
ISBN: 152612291X
Category : Art
Languages : en
Pages : 459
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Book Description
Focuses on issues of assimilation, translation and misunderstanding as art objects moved between cultures, either literally or imaginatively, and considers how visual culture expresses the increasing contact between Europe and the rest of the world in this era.
Author: Robert Tittler
Publisher:
ISBN: 0199685967
Category : Art
Languages : en
Pages : 218
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Book Description
In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.
Author: Arie Wallert
Publisher: Getty Publications
ISBN: 0892363223
Category : Art
Languages : en
Pages : 241
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Book Description
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 186
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Book Description
An illustrated quarterly.
