History of art Books

Book Synopsis“Entertaining reading.”—Wall Street Journal What’s the most important garment in a woman’s closet? More often than not, the answer is “the little black dress.” For decades, fashion magazines have touted the LBD as the perfect solution to almost every fashion crisis. Dressed up or down, with flats or heels, statement jewelry or a subdued jacket, the little black dress can be worn anywhere, for any occasion. Where did the little black dress come from? And how did black become the color of choice for every occasion? In Little Black Dress, Shannon Meyer answers these questions by offering a visual history of the black dress, illustrating its transformation from a traditional mourning garment to the fashion staple it is today. Beginning with the Victorian era, Meyer describes how widows were required to wear plain black clothing with no decoration for one year and a day, as a symbol of full mourning. This gave way to concepts such as “ordinary” and “half” mourning that allowed for different fabrics and embellishments. Then, in the early twentieth century, women began to slowly adopt black into their everyday wardrobe, and, in the 1920s, Coco Chanel launched her revolutionary first line of black dresses, advertising them as versatile, affordable, and fashionable choices for women. As Meyer shows, other designers quickly followed suit, and black has since prevailed as a universal, ever appropriate, always fashionable choice. Richly illustrated with seventy-five full-color photos of dresses and accessories spanning 150 years, and including information about the designer, original owner, and historical context for each, readers will find Little Black Dress a stylish guide to this wardrobe essential. Designed to accompany an exhibit by the same name at the Missouri History Museum, the book will impress historians and fashionistas alike.

Read more less

Book Synopsis

Read more less

Book SynopsisChicago has for decades years been one of the most prominent cities where European surrealism is avidly collected and displayed. However, there has yet to be a scholarly exhibition and catalogue that addresses the local manifestations of this international mode of art. A Home for Surrealism focuses on a select group of painters whose work in the 1940s and ’50s both transformed the domestic and domesticated the surrealist, particularly in Chicago. Working independently, but within a chain of social and artistic relationships, this group explored the interior as a site of projected imagination and fantasy, and the self as the generator of such altered perception. Including contributions by Robert Cozzolino, Adam Jolles, and Joanna Pawlik, the book provides a richly illustrated account of an international movement’s unlikely—but somehow ever so fitting—home in America.

Read more less

Book SynopsisMediaeval art survives today as fragments of larger works, usually displayed by historical period, geographic location, artistic medium or iconographic theme. "Fragmented Devotion" is the first exhibition to explore the meanings these fragments have in our understanding of mediaeval art and religious life from the Middle Ages to the present. Most of these objects have bever been shown before in North America, and many have not been published since the beginning of the 20th century. The catalogue includes essays by historians, art historians, philosophers and theologians. The writings discuss the meanings these objects had in mediaeval religious practice. The essays then go on to trace how those original meanings changed when the objects were collected and installed by Alexander Schnutgen within the larger context of Catholicism and nationalism in 19th-century Germany. Finally, the contributors look at the 1920s and 1930s when the objects were installed in a museum-like setting and consider this installation in light of the developments in mediaeval art history and the policies of national socialism.

Read more less

Book SynopsisA major contribution to the study of medieval and Renaissance art, "Secular/Sacred 11th - 16th Century" studies nearly 100 works from the vast collections of the Boston Public Library and the Museum of Fine Arts, Boston, to determine the multiple ways that medieval and early modern objects communicated both secular and sacred messages to their viewers. The book includes essays by noted art historians and literary scholars across a broad range: topics include the role beasts played in illuminated manuscripts, the sensual Virgin Mary in fifteenth-century Italian art, and the strange conflation of genealogies in a thirty-three foot-long French manuscript scroll that links the kings of France to Adam and Jesus Christ. Richly illustrated with images from an accompanying spring 2006 exhibition at the McMullen Museum of Art, "Secular/Sacred 11th - 16th Century" will be ideal reading for anyone with an interest in the medieval and early modern periods.

Read more less

Book Synopsis"Rural Ireland: The Inside Story" is the amply illustrated catalog of the McMullen Museum of Art's 2012 exhibition of Irish paintings and rural artifacts. Exploring the relationship between Ireland's visual arts and cultural history during the nineteenth and early twentieth centuries, fifteen contributors - including museum curators, art historians, social and cultural historians, literary critics, a historical archaeologist, and a folklorist - examine the paintings and artifacts of the country's rural interiors, many of them only recently discovered. A multidisciplinary approach reveals how economically marginalized tenant families arranged their homes, produced textiles and food, purchased goods, conducted business, worshipped, mourned, entertained, and educated themselves. This wide-ranging volume builds on the growing historical and literary exploration of material culture, and provides new insight into the power of physical objects to offer a deeper understanding of their owners' lives. A visually stunning and profoundly informative collection, "Rural Ireland: The Inside Story" is an important resource for anyone interested in the visual arts and their ability to illuminate the human condition.

Read more less

Book SynopsisOver the last fifty years Professor Cornelius Vermeule, formerly curator of Classical Art at the Boston Museum of Fine Arts, has consolidated his reputation as one of the foremost American authorities on Graeco-Roman art. His published work has covered the entire period from Mycenean to Byzantine art, and his papers have included studies of metalwork, sculpture, numismatics and the history of collecting. His studies have been particularly concerned however with Greek and Roman sculpture, especially that of the Roman Empire. These four volumes are designed to make available the most important of Professor Vermeule's contributions to periodicals. Volume I covers studies published between 1953 and 1964, and volume II continues the selection up to 1973. Volume III contains studies published between 1974 and 1984, and volume IV brings the selection up to 1995. Each volume has a new preface by Professor Vermeule and a comprehensive index.Table of ContentsPreface Sir John Soane, His Classical Antiquities A Fighting Warrior of the Greek Fifth Century Chariot Groups in Fifth Century Greek Sculpture Roman Cult Images on Coins of the Emperor Hadrian Classical Collections in British Country Houses Roman Numismatic Art, A.D. 200-400 Eastern Influences in Roman Numismatic Art A.D. 200-400 A Roman Lady of the First Century A.D. as Cybele Herakles Crowning Himself Aspects of Victoria on Roman Coins and Gems Aspects of Scientific Archaeology in the Seventeenth Century Socrates and Aspasia: New Portraits of Late Antiquity Greek Numismatic Art 400 B.C.-A.D. 300 An Equestrian Statue of Zeus The Portland Vase Before 1650 Achilles and Penthesilea A Portrait of the Emperor Hadrian Greek Art in Transition to Late Antiquity Two Masterpieces of Athenian Sculpture A Roman Silver Helmet in the Toledo Museum of Art Un aureo augusteo del magistrato monetario Cossusn Lentulus A Hellenistic Dancing Maenad from the Greek Islands or Asia Minor Antinous, Favorite of the Emperor Hadrian A Black-Figure Hydria by Psiax A Graeco-Roman Portrait of the Third Century A.D. and the Graeco-Asiatic Tradition in Imperial Portraiture from Gallienus to Diocletian Etruscan Leopards and Lions A Greek Goddess of the Fourth Century B.C. Egyptian Contributions to Late Imperial Portraiture Roman Sarcophagi in America: A Short Inventory Maximianus Herculeus and the Cubist Style in the Late Roman Empire, 295 to 310 A Ptolemaic Contribution Box in Boston The Colossus of Porto Raphti in Attica A Tondo Bust of Apollo Augustan and Julio-Claudian Court Silver A Collection of Greek and Roman Gems Index

Read more less

Book SynopsisThis selection of articles by Walter Cahn, the Carnegie Professor of the History of Art at Yale University, embraces work by the author that spans a period of some thirty years. Professor Cahn's interests here represented range from the illustration of the lost 10th-century Prayer Book of the late Carolingian Queen Emma to a 15th-century guide to the churches of Rome from the library of Margaret of York, Duchess of Burgundy, though their primary focus is Romanesque art of Latinate Europe in the 11th and the 12th century. Somewhat against the grain of academic specialization, the author is equally at home in sculpture, painting, book illumination, and fundamental questions of methodology. Among the topics that particularly engage his attention in this collection are connections between art and Biblical exegesis, Cistercian art and imagery, the role of art in the expression of orthodox and heretical beliefs, and perhaps most insistently, the figuration of religious, social and political structures within the pictorial languages of the medieval world.Table of ContentsPreface A Defense of the Trinity in the Citeaux Bible The Tympanum of the Saint-Anne Portal of Notre-Dame de Paris and the Iconography of the Division of the Powers in the Early Middle Ages Observations on Corbeil A King from Dreux Moses ben Abraham's 'Chroniques de la Bible' St. Albans and the Channel Style in England Solomonic Elements in Romanesque Art Three Eleventh-Century Manuscripts from Nevers The Rule and the Book. Cistercian Manuscript Illumination in Burgundy and Champagne The Psalter of Queen Emma Heresy and the Interpretation of Romanesque Art The Frescoes of San Pedro de Arlanza Margaret of York's Pilgrimage Guide to the Churches of Rome Romanesque Sculpture and the Spectator Architecture and Exegesis: Richard of Saint-Victor's Ezekiel Commentary and its Illustrations Benedict and Bernard: The Ladder Image in the Anchin Manuscript Additional Notes Index

Read more less

Book SynopsisRomanesque sculpture in Burgundy has always been seen as central to our understanding of the history and culture of 11th and 12th century Europe, standing as it does at a cross-roads between north and south, with its rich agricultural and urban economies out of which grew some of the great monastic settlements of feudal Europe, including of course Cluny and the Cistercians. Neil Stratford has been Keeper of Medieval and Later Antiquities at the British Museum since 1975 and is recognised as a leading authority on Romanesque and Gothic art. Over the last twenty years he has published many articles on Romanesque Burgundy in a number of English and French journals. The most famous sculptures (above all the Cluny apse capitals and the Vézelay tympanum) have been studied, alongside unpublished and little known monuments. These two volumes brings together a selection of these studies, some published in English for the first time and with new photographs. All are updated with brief corrections and new comments from the author.Table of ContentsIntroduction Romanesque Sculpture in Burgundy. Reflections on its Geography, on Patronage, on the Status of Sculpture and on the Working Methods of Sculptors A 10th-century Epitaph Fragment from St-Eusèbe, Auxerre Sculptures de Flavigny The Documentary Evidence for the Building of Cluny III La sculpture des parties orientales de l'église Cluny III d'après les fouilles de K.J. Conant The Apse Capitals of Cluny III (unpublished lecture) A Cluny Capital in Hartford, Connecticut Les bâtiments de l'abbaye de Cluny à l'époque médiévale. Etat des questions Contribution à l'histoire de la sculpture des maisons romanes de Cluny Vézelay - introduction historique. Des origines aux XVIIIe siècle La sculpture médiévale de Moutiers-Saint-Jean Sculpture romane originaire de Moutiers-Saint-Jean L'église de Bussy-le-Grand Flavigny, Monastère St-Joseph de Clairval, Bas-relief de Saint Pierre aux liens Le portail roman de Neuilly-en-Donjon Note on the reconstruction work with fragments from the portals of St-Lazare, Autun Un bas-relief roman de Nevers Chronologie et filiations stylistiques des sculptures de la façade nord du porche de Charlieu A Romanesque marble altar-frontal in Beaune and some Cîteaux manuscripts Une nouvelle acquisition du Musée d'art et d'archéologie de Moulins Le Mausolée de Saint Lazare à Autun Receuil des source pour l'étude du Mausolée de saint Lazare Autun and Vienne Sur quelques chapiteaux romans du Musée des Beaux-Arts de Troyes "Compostela and Burgundy?" Thoughts on the Western Crypt of the Cathedral of Santiago St. Bernard and the Visual Arts (unpublished lecture) Additional Notes Index

Read more less

Book SynopsisDr. Avery has worked on Italian sculpture since he joined the Victoria and Albert Museum in 1966. His study continued during his career as Director of Christie's sculpture department (1979-1990) and since then as an independent consultant and historian. He has published extensively in this field, including his survey, Florentine Renaissance Sculpture (1970); Giambologna: the complete sculpture (1987); Donatello: an Introduction (1994); and Bernini, Genius of Baroque Rome (1997). A number of articles on Italian sculpture have been included in two successive volumes entitled Studies in European Sculpture (1981 and 1987). The present volume comprises further articles written over the decade since 1986, some on specific discoveries and others consisting of broader surveys of individual sculptors' activity or under-studied classes of Renaisance sculpture: bronze artefacts, such as seals and locks; and garden sculpture. Several are unpublished texts of lectures, or radical expansions of briefly published pieces.Table of ContentsPreface Donatello's character as revealed in the early sources: "Rough and simple in everything except his sculpture" Donatello's Madonnas Revisited Donatello's Marble Narrative Reliefs The early Medici and Donatello 'Treasures in Relief' [Luca and Andrea della Robbia 'Madonna' reliefs in All Saints', Nynehead, Somerset] An Assumption of the Virgin by Benvenuto Cellini. A Gilt-Bronze Seal in the Wernher Collection Pierino da Vinci's 'Lost' Bronze Relief of The Death by Starvation of Count Ugolino della Gherardesca and his Sons rediscovered at Chatsworth 'The Flagellation of Christ': a Clarification of the Identity of the Reliefs by Pierino da Vinci and Vincenzo Danti Giovanni Bandini (1540-1599) reconsidered Giambologna's Horse and Rider Giambologna's Horses: Questions and Hypotheses Giambologna's Wood Statuette of Julius Caesar: The Rediscovery of a Masterpiece Mercury - a Flight of the Renaissance Imagination Giambologna's Bathsheba (Psyche?) Cristoforo Stati of Bracciano, and Giambologna: New tDiscoveries Fontainebleau, Milan or Rome? A Mannerist bronze lock-plate and hasp [with up-dated listing] A Retreat from Reality: Sculpture Grottoes of the Medici The 'Garden called Bubley': Foreign Impressions of Florentine Gardens, and a new discovery relating to Pratolino Fanelli's Cupid on a Dolphin Mount on a Wanli Porcelain Ewer The Bronze Statuettes of Caspar Gras Additional Notes Index

Read more less

Book SynopsisThis volume complements Anna Muthesius' two earlier ground-breaking volumes in the field of silk as material culture: Studies in Byzantine and Islamic Silk Weaving and Studies in Silk in Byzantium. The publication highlights the fact that similar patterns of selection were at work in the acquisition of silks by secular and ecclesiastical bodies. These patterns of selection were governed not only by fashions of the time, but by access to international trade routes leading to the Great Silk Road linking the Near East to the Mediterranean. The surviving silks prove that Mediterranean/Near Eastern silk trade flourished continuously and for centuries prior to the thirteenth century, contrary to what has previously widely been assumed. It also highlights the crucial role of the Caucasian silk routes in accessing the Great Silk Road in the early period, and the contribution of Georgian (and Armenian) silk weaving after the thirteenth century. Above all, the book demonstrates how important it is to assess the impact of Near Eastern silk manufacture and distribution in relation to Byzantine and Islamic Mediterranean silk production and trade.Table of ContentsA Millennium of Byzantine silks (AD 400-1400) The cult of Imperial and Ecclesiastical silks in Byzantium Silken Dress Codes, Gender and Power in Byzantium Sporting dress in Byzantium: Hunter and Charioteer attire A tribute to Donald King. Orthodox faith and gold embroidery in Byzantium Silk as 'fabric' of Monastic Life in Byzantium Sealed for God: Silk Reliquary Bags, Burses and Purses Canterbury Seal Bags: silks from across the mediaeval globe Byzantine silks in the Latin west: artistic and economic asset or political ploy? Mediterranean silks in the Caucasus Some little known Georgian and Armenian silks within Byzantine ritual The Silk Heritage of Durham Cathedral Durham Mediaeval Silks: problems of Research and Conservation Index

Read more less

Book SynopsisLilian Armstrong is Professor of Art at Wellesley College, Massachusetts, and a specialist on Venetian Renaissance book illumination. She is the author of The Paintings and Drawings of Marco Zoppo and Renaissance Miniature Painters and Classical Imagery: The Master of the Putti and His Venetian Workshop, and she was a major contributor to the exhibition catalogue The Painted Page: Italian Renaissance Book Illumination 1450-1550 (ed. by Jonathan Alexander). Her publications have focussed particularly on the transition from illuminated manuscripts to the hand-illuminated early printed book in Venice. The present volume collects Professor Armstrong's papers on miniaturists active in Venice and Northern Italy in the 15th and early 16th centuries, and on the impact of the new invention of printing on these artists and their patrons. Included are papers on Marco Zoppo, primarily a monumental"painter, who nevertheless also painted in manuscripts and incunables. The studies variously identify miniaturists and designers of woodcuts through stylistic groupings, trace iconographic traditions for Pliny's Natural History and Petrarch's De viris illustribus, demonstrate the importance of heraldry for studying patronage of Venetian printed books, and explore the distribution of Venetian incunables throughout Europe based on analysis of their decoration.Table of ContentsIntroduction Copies of Pollaiuolo's Battling Nudes Two Notes on Drawings by Marco Zoppo The Illustration of Pliny's Historia naturalis in Venetian Renaissance Manuscripts and Early Printed Books The Illustration of Pliny's Historia naturalis: Manuscripts before 1430 A Renaissance Flavius Josephus The Agostini Plutarch: An Illuminated Venetian Incunable Opus Petri: Renaissance Book Illuminations from Venice and Rome II Maestro di Pico: un miniatore veneziano del tardo Quattrocento The Impact of Printing on Miniaturists in Venice after 1469

Read more less

Book SynopsisEarly-medieval Irish fine metalwork is generally agreed to be one of the high points of achievement in European decorative arts. In the corpus of finds from the 7th to the 10th centuries are many masterpieces of the goldsmith's art some are personal ornaments, many are objects made for the service of the Church. The corpus of metalwork has been greatly expanded in recent years by new finds and by re-examination of older discoveries and major international exhibitions have won a new understanding of the significance of this material. A series of papers by Michael Ryan recording many new finds and analysing their significance are republished in this volume.Table of ContentsIntroduction Silver in pre-Viking Ireland: some Archaeological Comments The Roscrea Brooch An Early Christian Hoard from Derrynaflan, Co. Tipperary 'The Chalice', 'The Significance of the Hoard' and (with R. O Floinn) 'The Paten and Stand' Early Irish Chalices The Derrynaflan and other Irish Eucharistic Chalices: some Speculations A Suggested Origin for the Figure Representations on the Derrynaflan Paten The Horn Reliquary of Tongres-Tongeren: A 12th century Irish Object A Hoard of Early Medieval Door-furniture from Donore, Moynalty, Co. Meath Some Aspects of Sequence and Style in Metalwork of the 8th and 9th centuries Fine Metalworking and Early Irish Monasteries Church Metalwork in the 8th and 9th centuries A.D The Formal Relationships of Insular Early Medieval Eucharistic Chalices Links between Anglo-Saxon and Irish Early Medieval Art: some Evidence of Metalwork The Sutton Hoo Ship-burial and Ireland: some Celtic Perspectives Decorated Metalwork in the Museo dell'Abbazia, Bobbio, Italy The Menagerie of the Derrynaflan Chalice Ten Years of Early Irish Metalwork The Book of Kells and Metalwork The Menagerie of the Derrynaflan Paten The Decoration of the Donore Discs Early Christian Metalwork: New Evidence from Ireland The Derrynaflan Hoard and Early Irish Art The Irish Shrine of Abbadia San Salvatore, Monte Amiata, Italy Additional Notes Index

Read more less

Book SynopsisTrained in Italy, Greece, and the United States, the author has taught for over 35 years at Bryn Mawr College, and at other universities in the U.S. and abroad, receiving the Gold Medal of the Archaeological Institute of America for Distinguished Achievement. A pupil of Rhys Carpenter, she has devoted all her writing to Greek sculpture. The articles in this volume were selected from over 95 studies she has published. In addition, her books have surveyed the entire span of Greek sculpture from the Archaic to the Late Hellenistic period. The articles are here presented in the chronological order in which they first appeared, to document Profesor Ridgway's evolving views on the history of Greek sculpture. Preference has been given to those that were published in foreign journals and honorary volumes; two have been translated from the original Italian and one from French. Notes at the end of the book update all the studies.Table of ContentsThe West Frieze of the Siphnian Treasury The East Pediment of the Siphnian Treasury Two Peplophoroi in the United States The Man-and-Dog Stelai A Story of Five Amazons The Amazon's Belt: an Addendum to a Story of Five Amazons The Plataian Tripod and the Serpentine Column The Peplos Kore, Akropolis 679 Of Kouroi and Korai, Attic Variety Court Art and Hellenistic Art: The Role of Alexander the Great The Gauls in Sculpture The Fashion of the Elgin Kore The Riace Bronzes: A Minority Viewpoint Late Archaic Sculpture The "Nike of Archermos" and her Attire The Bronzes from the Porticello Wreck Musings on the Muses Defining the Issue: The Greek Period Leto and the Children Birds, "Meniskoi" and Head Attributes in Archaic Greece Metal Attachments in Greek Marble Sculpture Parthenon and Parthenos Archaic Architectural Sculpture and Travel Myths Greek Sculpture as Archaeological Evidence Aristonautes' Stele, Athens Nat. Mus. 738 The Porticello Bronzes Revisited "Paene ad exemplum": Polykleitos' Other Works The Severe Style: Updating the Issue The Farnese Bull (Punishment of Dirke) from the Baths of Caracalla: how many prototypes? A Goddess in Philadelphia An Issue of Methodology: Anakreon, Perikles, Xanthippos The Puschkin Stele from Taman Some Personal Thoughts on the Knidia The Laokoon in Hellenistic Sculpture Additional Notes Index

Read more less

Book SynopsisTrained as both an archaeologist and an art historian, Richard Gem established his specialist interest in pre-Romanesque and Romanesque architecture with his doctoral research at Cambridge University. Since then he has researched, published and lectured widely in this subject, while holding posts in different fields of cultural resource management. Dr Gem's earlier work aimed to establish an understanding of English architecture in the 11th century that would break away from the view that cultural development in this period could be simply explained in terms of whether buildings were constructed before or after the Norman Conquest. He has taken a wide view of how cultural processes in England need to be seen in the context of broader European trends, in order to understand both English architecture's indebtedness to the Continent, and also what gives it its specific national character. His earlier papers applied this approach to the development of the Romanesque style of architecture in England through the course of the 11th century while more recently he has applied a similar approach to earlier centuries, including the Carolingian period. Taking a broad view of cultural trends as his starting point, he has always anchored his work on a detailed archaeological, historical and stylistic analysis of individual buildings before drawing conclusions. This publication includes Dr Gem's main work over a period of quarter of a century. Taken together, these studies present an overview of the development of English Church architecture from the 7th century to the 12th.Table of ContentsIntroduction Archaeology and Architecture of English Christianity: What do Churches Mean? ABC: how should we periodise Anglo-Saxon Architecture Architecture of the Anglo-Saxon Church, 735 to 870: from Archbishop Ecgberht to Archbishop Ceolred The Episcopal Churches of Lindsey in the Early 9th Century The Anglo-Saxon Church at Cirencester: a Reconstruction and Evaluation Staged Timber Spires in Carolingian North East France and Late Anglo-Saxon England The Pre-Romanesque Facade in England Documentary References to Anglo-Saxon Painted Architecture Towards an Iconography of Anglo-Saxon Architecture Reconstructions of St Augustine's Abbey, Canterbury, in the Anglo-Saxon Period Tenth-Century Architecture in England Church Architecture in the Reign of King Aethelred A Recession in English Architecture during the Early 11th Century and its Effect on the Development of the Romanesque Style Pre-Romanesque and Romanesque Architecture in England

Read more less

Book SynopsisTrained as both an archaeologist and an art historian, Richard Gem established his specialist interest in pre-Romanesque and Romanesque architecture with his doctoral research at Cambridge University. Since then he has researched, published and lectured widely in this subject, while holding posts in different fields of cultural resource management. Dr Gem's earlier work aimed to establish an understanding of English architecture in the 11th century that would break away from the view that cultural development in this period could be simply explained in terms of whether buildings were constructed before or after the Norman Conquest. He has taken a wide view of how cultural processes in England need to be seen in the context of broader European trends, in order to understand both English architecture's indebtedness to the Continent, and also what gives it its specific national character. His earlier papers applied this approach to the development of the Romanesque style of architecture in England through the course of the 11th century while more recently he has applied a similar approach to earlier centuries, including the Carolingian period. Taking a broad view of cultural trends as his starting point, he has always anchored his work on a detailed archaeological, historical and stylistic analysis of individual buildings before drawing conclusions. This publication includes Dr Gem's main work over a period of quarter of a century. Taken together, these studies present an overview of the development of English Church architecture from the 7th century to the 12th.Table of ContentsEngland and the Resistance to Romanesque Architecture The Romanesque Rebuilding of Westminster Abbey The Significance of the 11th-Century Rebuilding of Christ Church and St Augustine's, Canterbury, in the Development of Romanesque Architecture Canterbury and the Cushion Capital: a Commentary on Passages from Goscelin's de miraculis sancti Augustini The Romanesque Architecture of Old St Paul's Cathedral and its Late 11th-Century Context Chichester Cathedral: When was the Romanesque Church Begun The Romanesque Cathedral of Winchester: Patron and Design in the 11th Century The First Romanesque Cathedral of Old Salisbury Bishop Wulfstan II and the Romanesque Cathedral Church of Worcester The Bishop's Chapel at Hereford: the Roles of Patron and Craftsman Lincoln Minster: Ecclesia Pulchra, Ecclesia Fortis Romanesque Architecture in Chester c. 1075 to 1117 The English Parish Church in the 11th and 12th Centuries: a 'Great Rebuilding';The Early Romanesque Tower of Sompting Church, Sussex An Early Church of the Knights Templars at Shipley, Sussex The Church of St Michael and St Mary, Melbourne, Derbyshire Additional Notes Index

Read more less

Book SynopsisDr Jean Michel Massing is a Reader in the History of Art and a Fellow of King's College, Cambridge. The first volume of Studies in Imagery, Text and Images, consists of 25 "studies grouped under four sections: Classical Art and its Nachleben; Symbolic Languages; Saints and Devils; Comets, Dreams and Stars. The topics include the Celto-Roman "goddess Epona, the Calumny of Apelles and its reconstructions, the Triumph of Caesar, proverb illustration, the art of memory, emblematic and didactic imagery, the temptations of St Anthony, as well as dreams and celestial phenomena. They span a wide range of periods, from classical antiquity to the nineteenth century. Vol. 2, The World Discovered, deals variously with the relationship of European with non-European cultures, cartography in medieval and early modern times, the representation of foreign lands and people, and the collecting of exotic artefacts. A central theme involves the imagery of black Africans from the Middle Ages up to the nineteenth century.Table of ContentsIntroduction Cartography. Observations and Beliefs: The World of the Catalan Atlas La mappemonde de Pierre Desceliers de 1550 The World Described. Hans Burgkmair's Depiction of Native Africans Early European Images of America: The Ethnographic Approach Albrecht Durer's Irish Warriors and Peasants The image of Africa and the iconography of lip-plated Africans in Pierre Descelier's world map of 1550 The Image of Blackness. From Greek Proverb to Soap Advert: Washing the Ethiopian Washing the Ethiopian or the Semantics of an Impossibility Washing the Ethiopian, once more Kunskammern and Collections. The Quest of the Exotic: Albrecht Durer in the Netherlands Pacific Cultures. Nicolas Joseph Hamann and the Material Culture of the Gilbert Islands (Kiribati) In Arms and Armour. Battles in the Gilbert Islands Index

Read more less

Book Synopsis"Rethinking Malevich" is an English-language collection of sixteen innovative essays by leading international scholars that document new and intriguing aspects of Kazimir Malevich's art and biography. This latest research on the Russian modern artist appears after more than seventy years of political and cultural difficulties - including the East-West bifurcation of his artistic and written legacy - that impeded the study and understanding of his work. For the first time, the greater portion of Malevich's work and writings was available for the scholarly research and study undertaken here. The result is a wealth of new details about this pioneer of abstraction, including: explorations of his early art education; the differences in the reception of his abstract art by Western and Russian audiences; the appearance of his work in 1936 at the Museum of Modern Art; the artist's special relationship with Ukraine. The development of his art is considered alongside that of Vasily Kandinsky and Giorgio De Chirico, and his philosophy is examined in comparison with the ideas of Nikolai Fedorov and Ortega-y-Gasset. The history of Russian and Soviet art in the 1920s and 1930s is intricately interwoven with the revolutionary social changes taking place throughout the country. Here are details of the political maneuverings Malevich went through in Russia to protect his art and his friends, and his reaction to Lenin's death in 1924 and the subsequent growth of the "Lenin myth." Rethinking Malevich reveals the complex early interweaving of Suprematism and Constructivism, considers little-researched aspects of the artist's Post-Suprematist period, and the history of Malevich's literary legacy. Not least, it demonstrates the various ways in which Malevich's art continues to stimulate the highly unusual work of contemporary Russian artists.Table of ContentsPreface John E, Bowlt, 'Kazimir Malevich and Fedor Rerberg' Elena Basner, 'The Early Work of Malevich and Kandinsky: A Comparative Analysis' Natalia Avtonomova, 'Malevich and Kandinsky: The Choices after Non-Objectivity' Tatiana Goriacheva, 'Suprematism and Constructivism: The Intersection of Parallels' Linda Boersma, 'Malevich and De Stijl' Myroslava M. Mudrak, 'Malevich and his Ukrainian Contemporaries' Adrian Barr, 'From 'Vozbuzhdenie to Oshchushenie: Theoretical Shifts, Nova Generatsiia and the Late Paintings' Pamela Kachurin, 'Malevich as Soviet Bureaucrat: Ginkhuk and the Survival of the Avant-Garde 1923-1926' Konstantin Akinsha, 'The Funeral of the Revolution' Irina Vakar, 'Kazimir Malevich and Ortega y Gasset on the New Art' Eva Forgacs, 'Malevich and Western Modernism' James Lawrence, 'False Positives: Malevich, MoMA and Minimalism' Irina Karasik, 'Extending Malevich: Malevich as Subject in Russian Art After The Second World War' Aleksandra Shatskikh, 'Features of Kazimir Malevich's Literary Legacy: A Summary' Index

Read more less

Book SynopsisThe Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.Table of ContentsPreface John E, Bowlt, 'Kazimir Malevich and Fedor Rerberg' Elena Basner, 'The Early Work of Malevich and Kandinsky: A Comparative Analysis' Natalia Avtonomova, 'Malevich and Kandinsky: The Choices after Non-Objectivity' Tatiana Goriacheva, 'Suprematism and Constructivism: The Intersection of Parallels' Linda Boersma, 'Malevich and De Stijl' Myroslava M. Mudrak, 'Malevich and his Ukrainian Contemporaries' Adrian Barr, 'From 'Vozbuzhdenie to Oshchushenie: Theoretical Shifts, Nova Generatsiia and the Late Paintings' Pamela Kachurin, 'Malevich as Soviet Bureaucrat: Ginkhuk and the Survival of the Avant-Garde 1923-1926' Konstantin Akinsha, 'The Funeral of the Revolution' Irina Vakar, 'Kazimir Malevich and Ortega y Gasset on the New Art' Eva Forgacs, 'Malevich and Western Modernism' James Lawrence, 'False Positives: Malevich, MoMA and Minimalism' Irina Karasik, 'Extending Malevich: Malevich as Subject in Russian Art After The Second World War' Aleksandra Shatskikh, 'Features of Kazimir Malevich's Literary Legacy: A Summary' Index

Read more less

Book SynopsisRecent discussions on Byzantine art have been dominated by the question of representing realia. Among these, however, the way works of art reflect the daily life of women have not received much space or attention. The present book studies various images representing women's status and her performative tasks, and their significance from the fourth century to the fall of the Empire, through analysis of archaeological evidence and works of art. It addresses a wide range of questions, some pertaining both to pictorial traditions and to their late antique antecedents, others peculiar to changing and evolving Byzantine culture and mentality. The first chapter deals with the imagery of childbearing, starting with conception and concluding with the care given to the new born and the mother. The second chapter investigates motherhood imagery (breastfeeding, child care, and child-mother intimacy) and the portrayal of women as caretakers and managers of the household (preparing food, bringing water, carding and weaving, or working side by side with their husbands). The third chapter is dedicated to representations of women holding positions outside the house: midwives, maidservants, wet nurses, and mourners. Images of women engaged in disreputable occupations-dancers, musicians, prostitutes and courtesans - complete this chapter. The fourth chapter discusses images of women portrayed in the metaphorical margins - looking out from the gynaikon (the women's apartments), or at their private toilette; it also deals with representations of women who stray from the societal mainstream - concubines; adulteresses, women consenting to sexual acts or being coerced into them - considered symbolically as belonging to the margins of society. The book concludes with a discussion of the degree to which the visual material reliably reflects reality and changing attitudes toward women between Late Antiquity and late Byzantium; and further, to what extent it reveals embedded perceptions and conceptions of women, constructed by canonic regulations and imperial law, popular beliefs and accepted customs. The book aims to lift a veil from known and less known works of art and to present the rarely described picture of the daily life of women in Byzantine art over a very wide chronological span of time, in an effort to expand our knowledge of women in Byzantium and their realia.

Read more less

Book SynopsisThis lavishly illustrated book collects papers delivered at the third Gingko conference: "The Mercantile Effect: On art and exchange in the Islamicate world during 17th ?18th centuries." Held in Berlin, this meeting brought together a group of established and early-career scholars to discuss how the movement of Armenian, Indian, Chinese, Persian, Turkish, and European merchants and their trade goods spread new ideas and new technologies across Western Asia in the early modern era. Through the newly-established Dutch, English, and French East India companies, as well as much older mercantile networks, prestigious exotic commodities--silk, ivory, books, glazed porcelains--were transported east and west. The collected essays in this volume introduce a fascinating array of not only trade objects but also customs and traditions that bring this period of intense cultural interplay to life.Trade Review`The avenues which bridged bodies of land and water and across which people, ideas, and artefacts moved, the codes which made communication along these avenues possible, and the outcomes of this movement and communication constitute the little-explored bedrock of early modern history. The material hybrids growing out of this bedrock of transcontinental and transoceanic liquidity are even less understood as they defy disciplinary pigeonholing. The Mercantile Effect captures unexpected glimpses of a vast and shifting landscape and brings them into focus; this is what the future of art history looks like.' George Manginis, Benaki Museum, Athens; `From paper fans and gold watches to aromatics and stimulants, art objects, exotic artefacts but also artists, styles and patterns moved freely between the Ottoman lands, Europe and Western Asia between the 16th to 18th centuries. This fine collection of stimulating essays is a fascinating introduction to some of commodities, tastes and ideas that flowed around the Middle East in the premodern era and proves once again how the study of small-scale artefacts and even everyday items powerfully adds to the larger story of trade and exchange.' Julia GonnellaDirector, Museum of Islamic Art, Doha.

Read more less