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Author: Catherine Whistler Publisher: ISBN: Category : Art Languages : en Pages : 30
Book Description
A masterpiece of the early Renaissance, Paolo Uccello's (1397-1475) 'Hunt in the Forest' is a magical and enigmatic picture. The painting clearly belongs to the last decade of Uccello's career, and stylistic comparisons with the narrative scenes that he painted in the late 1460s in Urbino suggest that 'The Hunt' must date from soon after that. Uccello's lifelong interest in geometry and perspective, together with his skill in depicting animals and landscape, combine in this swansong, a jewel-like painting designed to please a sophisticated audience. The Hunt in the Forest is a rare and tantalising survivor of a particular type of secular painting. A spalliera painting (from spalla, meaning shoulder), it would have been set into the panelling of a room at shoulder height. Scenes from ancient history and mythology, or from medieval romance, were common in spalliera paintings, and many have come down to us. However, the fact that a hunting scene with figures in contemporary dress is elaborately and playfully depicted by a major artist makes this panel virtually unique in Florentine domestic painting of the fifteenth century. Clearly the patron who ordered this picture was a discerning one, familiar with Uccello's distinctive artistic talents. The painting has been in thc collection of the Ashrnolean Museum since 1850.
Author: Catherine Whistler Publisher: ISBN: Category : Art Languages : en Pages : 30
Book Description
A masterpiece of the early Renaissance, Paolo Uccello's (1397-1475) 'Hunt in the Forest' is a magical and enigmatic picture. The painting clearly belongs to the last decade of Uccello's career, and stylistic comparisons with the narrative scenes that he painted in the late 1460s in Urbino suggest that 'The Hunt' must date from soon after that. Uccello's lifelong interest in geometry and perspective, together with his skill in depicting animals and landscape, combine in this swansong, a jewel-like painting designed to please a sophisticated audience. The Hunt in the Forest is a rare and tantalising survivor of a particular type of secular painting. A spalliera painting (from spalla, meaning shoulder), it would have been set into the panelling of a room at shoulder height. Scenes from ancient history and mythology, or from medieval romance, were common in spalliera paintings, and many have come down to us. However, the fact that a hunting scene with figures in contemporary dress is elaborately and playfully depicted by a major artist makes this panel virtually unique in Florentine domestic painting of the fifteenth century. Clearly the patron who ordered this picture was a discerning one, familiar with Uccello's distinctive artistic talents. The painting has been in thc collection of the Ashrnolean Museum since 1850.
Author: Elizabeth Hand Publisher: Small Beer Press ISBN: 1618730312 Category : Fiction Languages : en Pages : 285
Book Description
Praise for Elizabeth Hand: "Fiercely frightening yet hauntingly beautiful."—Tess Gerritsen, author of The Silent Girl "A sinful pleasure."—Katherine Dunn, author of Geek Love No one is innocent, no one unexamined in award-winner Elizabeth Hand's new collection. From the summer isles to the mysterious people next door all the way to the odd guy one cubicle over, Hand teases apart the dark strangenesses of everyday life to show us the impossibilities, broken dreams, and improbable dreams that surely can never come true. Elizabeth Hand's novels include Shirley Jackson Award–winner Generation Loss, Mortal Love, and Available Dark.
Author: Caroline Elam Publisher: Paul Holberton publishing ISBN: 9781912168088 Category : Art criticism Languages : en Pages : 0
Book Description
Roger Fry (1866-1934) is best known as a champion of Post-Impressionism and a pioneer of Modernist art criticism. But his fi rst love was early Italian painting, on which he became a recognized authority, publishing a monograph on Giovanni Bellini in 1899. Even after the Post-Impressionist exhibitions in 1910 and 1912 and the foundation of the Omega Workshops, Fry continued to write and lecture on Italianart right up until his death. He looked at modernism through Quattrocento eyes rather than the other way around, as is often wrongly assumed. It is impossible not to be struck by how fresh and immediately readable his writings are, how pioneering in some ways his approach remains. His work on Italian art modifi es the received view of him as a pure formalist. Apart from a famous article on Giotto which Fry republished in Vision and Design (1920), the writings on Italian art are relatively little known, and a selection of the best of them is republished here, thus introducing an important aspect of Fry's many-sided work to a new audience. The fi rst part of the book sets Fry's writing on Italian art into context by combining intellectual biography with the history of art history, art criticism and art institutions. It draws on new documentary material, including Fry's travel notebooks, which contain sketches and brilliant observations taken down in front of works of art. By exploring the whole range of Fry's published and unpublished writings, theauthor is able to refute erroneous received ideas - that he was uninterested in colour, for example. The infl uence of his Italian lectures and publications on such fi gures as E.M. Forster, Kenneth Clark and Michael Baxandall is also examined. The second part consists of writings by Fry - each with an introductory text by the author and fully illustrated in colour. Included in this volume are some of the unpublished lectures that his biographer Virginia Woolf suggested would make a fascinating book of extracts. Four long pieces are of outstanding interest - on Uccello, Piero della Francesca, Baldovinetti and Piero di Cosimo, all artists whose critical status was radically re-examined in the twentieth century. Fry had a close and lifelong connection with The Burlington Magazine, as cofounder, contributor, saviour-fundraiser, editor (1909-1919) and adviser. Roger Fry and Italian Art is appropriately the fi rst in a series of books on art history to be published by The Burlington Magazine and Ad Ilissvm in association - to be announced in due course.
Author: Arie Wallert Publisher: Getty Publications ISBN: 0892363223 Category : Art Languages : en Pages : 241
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: Simon Goodman Publisher: Simon and Schuster ISBN: 1451697643 Category : Art Languages : en Pages : 368
Book Description
The passionate, true story of one man's quest to reclaim what the Nazis stole from his family--their beloved art collection--and to restore their legacy. Simon Goodman's grandparents came from German Jewish banking dynasties and perished in concentration camps. And that's almost all he knew--his father rarely spoke of their family history or heritage. But when he passed away, and Simon received his father's papers, a story began to emerge. The Gutmanns, as they were known then, rose from a small Bohemian hamlet to become one of Germany's most powerful banking families. They also amassed a world-class art collection that included works by Degas, Renoir, Botticelli, and many others, including a Renaissance clock engraved with scenes from the legend of Orpheus. The Nazi regime snatched everything the Gutmanns had labored to build: their art, their wealth, their social standing, and their very lives. Simon grew up in London with little knowledge of his father's efforts to recover their family's possessions. It was only after his father's death that Simon began to piece together the clues about the stolen legacy and the Nazi looting machine. He learned much of the collection had gone to Hitler and Goring; other works had been smuggled through Switzerland, sold and resold, with many pieces now in famous museums. More still had been recovered by Allied forces only to be stolen again by bureaucrats-- European governments quietly absorbed thousands of works of art into their own collections. Through painstaking detective work across two continents, Simon proved that many pieces belonged to his family, and successfully secured their return-- the first Nazi looting case to be settled in the United States. Goodman's dramatic story reveals a rich family history almost obliterated by the Nazis. It is not only the account of a twenty-year long detective hunt for family treasure, but an unforgettable tale of redemption and restoration.
Author: Catherine Whistler
Author: Catherine Whistler
Author: Elizabeth Hand
Author: Caroline Elam
Author: Peter Galassi (Museumskurator.)
Author: Paolo Uccello
Author: Arie Wallert
Author: Harold Speed
Author: Boston, Mass. Isabella Stewart Gardner Museum
Author: Evelyn March Phillipps
Author: Simon Goodman