Search results for ""D Giles Ltd""

A thoughtful selection of works which celebrates the opening of the new Buffalo AKG Art Museum, and provides a flavour of one of the world's most extraordinary collections of modern and contemporary art

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Presenting over fifty works by a broad cross-section of major artists, this new volume captures the huge and lasting impact of the railroad on America through the eyes of the artists who witnessed its expansion.

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According to Nico Muhly, the Coronation of the Virgin is "a panel of pure theatre and music". Painted in 1358 by the Venetian artist Paolo Veneziano (ca. 1295-1362), the apocryphal story of the Virgin's death is depicted in one of the artist's most thrilling and important works. Paolo Veneziano presents the Virgin and Christ in sumptuous garments and surrounded by a choir of angels playing portable organs, lutes, trumpets, tambourines, and other instruments. The angels symbolize the harmony of the universe; their instruments are the authentic components of a medieval orchestra, accurately depicted and correctly held and played. The decorative sparkle of the surface - with its brilliant, expensive colours, patterned textiles, and lavish gold leaf - reflects the Venetians' love of luxury, a taste that enriches much of 14th- and 15th-century architecture in Venice.

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Scenes of New York City celebrates the promised gift of 130 works from the Elie and Sarah Hirschfeld Collection to the New-York Historical Society. The Hirschfeld promised gift is at once a collection of individual works by talented artists from the 19th and 20th centuries, a series of vivid "snapshots" of the iconic city, and a tapestry weaving a narrative of Gotham's vibrant history. These fascinating celebrations of New York City-paintings, watercolours, drawings, prints, and sculpture whose strength lies in the 20th century-include 113 works by 82 American and European artists not currently represented in the collection. They expand the Museum's holdings in the modern era and help to diversify them, adding numerous works by pivotal artists including Isabel Bishop, Marc Chagall, Fernand Leger, George Grosz, Keith Haring, Franz Kline, WIllem de Kooning, Jacob Lawrence, Louise Nevelson, Mark Rothko and Andy Warhol among many others. The catalogue features an introductory essay covering the sweeping history of New York City, an interview with the collector Elie Hirschfeld, 110 scholarly entries about the 130 works, and comparative material that illuminates the history of the City and the artistic contributions in the works of art

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A compelling story about the decline and rebirth of a 100 year old garden. This is a compelling story about the decline and rebirth of a 100 year old garden. Until recently, the Blue Garden, an icon of Gilded Age splendour in Newport, Rhode Island, was known only from hand-tinted slides dating from 1917. Originally designed in collaboration with the garden's original owner by Frederick Law Olmsted, Jr, and the Olmsted firm - founded by his father, the great landscape architect responsible for Central Park, New York City - it has now been brought back to life. Landscape historian Arleyn A. Levee tells a fascinating and carefully researched narrative about the garden's origins, development, heyday, decay and ultimate renaissance. The Blue Garden skillfully interweaves the garden's design and social history, and stories of its founders and the Olmsted firm, with historical photos, original drawings and sketches, and images of the restored garden from 2015. This is a timeless and inspiring account of the devoted patrons, skilled artisans and great designers behind the creation and revival of a masterpiece, made possible by the vision of a devoted patron, and the relevance of historic preservation of gardens in the 21st century. AUTHOR: ARLEYN A. LEVEE is a historian and preservation consultant specializing in research concerning the Olmsted firm. She received a Bachelor of Arts from Wellesley College, Master of Arts in Teaching from Harvard University, and a Certificate from the Radcliffe Seminars Program in Landscape Design. 73 colour and 120 b/w illustrations

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Encompasses an impressive and engaging variety of fabulous objects from the most important faience centres, dating from the late sixteenth to the mid-eighteenth century. A feat of great technical achievement, French faience was introduced to Lyon in the second half of the sixteenth century by skilled Italian immigrants:mdash;the French word "faience" deriving from the northern Italian city of Faenza. Over the next two centuries, production spread throughout the provinces of metropolitan France. The fine decoration of French faience draws inspiration from multiple sources - Italian maiolica, Asian porcelain, and even contemporary engravings. The forms of its platters, bowls, plates, and ewers derive mostly from European ceramics and silver. This complex interplay of influences comes together in works of great originality. The Knafel Collection of French faience, the finest in private hands, includes outstanding examples of Nevers, Rouen, Moustiers, Moulins, and Marseilles production from the late sixteenth to the mid-eighteenth century. The quality of these masterpieces almost obscures the fact that French faience was essentially a provincial art, largely patronised and commissioned by a local aristocracy and made far from the centres of political power in Versailles and Paris. In this stunning new volume, Charlotte Vignon traces the history of French faience, offering detailed discussions of key centers of production. Illustrated with more than seventy examples, this valuable resource testifies to the creativity and beauty of an engagingly innovative tradition. AUTHOR: Charlotte Vignon is curator of Decorative Arts at The Frick Collection, as well as a Visiting Associate Professor at the Bard Graduate Center, New York. 88 colour images

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Paul Feeley (19101966) is a towering figure in postwar American modernism. His legendary tenure as head of the art department at Bennington College and resulting associations with the likes of Lawrence Alloway, Helen Frankenthaler, Clement Greenberg, Jackson Pollock, and David Smith informed his unique approach to painting as an open-ended proposition. Represented during his lifetime by the Betty Parsons Gallery and honored posthumously by a retrospective at the Solomon R. Guggenheim Museum, he is the subject of this timely new publication, which accompanies a major exhibition organized by the Albright- Knox Art Gallery and the Columbus Museum of Art.In addition to color plates of all works in the exhibitionnearly one hundred paintings, works on paper, and sculpturesthis volume features essays by exhibition curators Douglas Dreishpoon and Tyler Cann, as well as poet and critic Raphael Rubinstein, and an illustrated chronology by academic and granddaughter of the artist Cary Cordova. From his early Abstract Expressionistinspired paintings to his organic, anthropomorphic figureground compositions and later diagrammatical, hard-edged works, "Imperfections by Chance" charts the full range of Feeley s influential life and career.The accompanying exhibition opens at The Columbus Museum of Art, Columbus, OH, October 22, 2015January 10, 2016"

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The Tanenbaum gift of over two hundred works of internationally significant nineteenth-century European art is one of the most important art donations to a Canadian gallery. A diverse and original collection, it features works by Leon Bonnat, Frank Brangwyn, Charles Cordier, Gustave Dore, Pierre Puvis de Chavannes, Kathe Kollwitz, Henry Raeburn, Joaquin Sorolla, James Tissot, and Anders Zorn. This beautifully illustrated volume presents seventy-five of the key highlights by fifty-nine international artists. It offers insight into a broad range of artistic production in the nineteenth century, encompassing painting, sculpture, drawing, and printmaking. Author Alison McQueen provides an in-depth analysis of the social and historical context of each work, and full-colour images illuminate her close study of the aesthetics of every piece. The artwork entries are accompanied by provenance, exhibition history, and bibliography. This book challenges many lasting misconceptions about nineteenth-century art. It includes a preface by collectors Joey and Toby Tanenbaum and an introductory essay on the collection by Alison McQueen. AUTHOR: Alison McQueen is Professor of Art History, Department of History, McMaster University, Hamilton, Ontario, Canada. 83 colour illustrations

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Italian Baroque painting is often discussed in terms of theatre and the creation of powerful visual spectacle through the dramatic use of light. Seventeenth-century painters pushed the limits of artistic expression to reshape the relationship between the illusionistic image and its audience with contrasting styles, new techniques, and by deploying extraordinary optical effects. Featuring some of Canada's foremost Baroque paintings, "Illuminations" examines how the functional and symbolic representation of light was the expression of a culture captivated by theatrical display. Set in the context of Italy's dynamic and international cultural capitals, "Illuminations" compares and contrasts religious, mythological, and popular imagery. Through a detailed examination of works by Nicolas Poussain, Luca Giordano, Orazio Gentileschi and Guido Reni amongst others, the book explores how 17th-century audiences were confronted with pictures that frequently broke conventions by manipulating the sources and meaning of light, while depicting all types of subjects; painters were able to transform light, controlling its role as a signifier of demeanour, emotion, or religious symbolism. The use of light coloured the historical legends and social mythologies of this extravagant world.

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Double Exposure is a major new series based on the remarkable photography collection held by the Earl W. and Amanda Stafford Center for African American Media Arts at the NMAAHC. From pre-Civil War daguerreotype portraits to 21st-century digital prints, this is a striking record of the key historical events, the cultural touchstones and the private and communal moments of African American life. In addition to over fifty photographs, each volume includes an introduction by a leading historian, activist, photographer or writer, and a foreword by the NMAAHC's founding director Lonnie Bunch. Photographers include Spider Martin, Gordon Parks, Ernest C. Withers, Wayne F. Miller and Henri Cartier- Bresson. There are iconic images, such as McPherson and Oliver's Gordon under Medical Inspection (circa 1867) and Charles Moore's photographs of the 1963 Birmingham Children's Crusade, as well as unfamiliar or recently discovered images, including Henry Clay Anderson's postwar pictures of everyday life in the segregated black community in Greenville, Mississippi.

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The Parrish Art Museum, on Long Island's East End, holds one of the largest public collections of William Merritt Chase in the United States: over forty paintings and works on paper, and a wealth of archival photographs and documents. This new volume features 30 of the artist's most important paintings and works on paper, including his early "Still Life with Fruit" (1871), works from the famous New York park scenes series, notably "Park in Brooklyn" (c. 1887); major studio paintings from the 1880s, such as "The Blue Kimono" (c. 1888); and of course, the paintings made during his summers in Long island's Shinnecock Hills, including "The Bayberry Bush" (c. 1895). It also includes many family photographs taken during summer spent in Shinnecock Hills, Long Island, where Chase founded, and taught at, the Summer School of Art. There are essays covering the key influences on Chase's art and his early career in Munich and his work in Paris and Madrid.

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Graphicstudio: Uncommon Practice at USF explores the incredible body of art from Graphicstudio, the print atelier at the University of South Florida, Tampa, Florida that has hosted artists including Louise Bourgeois, Jim Dine, Alex Katz, and Roy Lichtenstein. Founded in 1968, the studio has developed an international reputation, and work produced at Graphicstudio can now be found in private and museum collections across the world. This volume presents over one hundred artworks by forty-five artists including Chuck Close, Roy Lichtenstein, Christian Marclay, Philip Pearlstein, Robert Rauschenberg, Ed Ruscha, and Kiki Smith. The range of artworks includes etchings, photo- and direct gravures, digital or pigment prints, cyanotypes, lithographs, woodcuts and screen prints, as well as sculpture in bronze, concrete, basalt, and cast epoxy resin. Author Jade Dellinger investigates Graphicstudio's innovative atmosphere and interdisciplinary resources as well as the technical challenges artists have faced. Illustrated case studies focus on the work of seven artists; also featured are four illustrated interviews with the current and past Graphicstudio directors and brief biographies of the careers of the forty-five artists represented.

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'In front of Nature' is the first monograph to feature the work of Thomas Fearnley (1802-1842), a major artist in the tradition of the great romantics like Caspar David Friedrich, J.C. Dahl and J.M.W.Turner. This volume reveals the full range of Fearnley's landscape paintings, from large oils to spontaneous sketches, which he produced 'en plein air' during his summer travels. Fearnley's entire career is considered: Frode Ernst Haverkamp studies his Norwegian upbringing and influence, David Jackson looks at his extensive travels to artistic centres in Italy and Germany, including Dresden where he studied under J. C. Dahl, and his return to Norway via the Swiss Alps and Britain. Ann Sumner studies the artist's little-known British paintings, including his tour of the Lake District and involvement with the Etching Society. Greg Smith focuses on how Fearnley appears in his own landscape studies and in a new type of contemporary painting: gatherings of artists in social settings.

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'Revolution! The Atlantic World Reborn' is an original illustrated volume which accompanies the landmark international travelling exhibition opening at the New York Historical Society in November 2011. This fascinating book brings together three globally influential revolutions - in America, France, and Haiti - to explore the enormous transformations in the world's politics and culture between Britain's victory in the Seven Years War in 1763 and the end of the Napoleonic Wars fifty-two years later. While most histories of these revolutions have been told exclusively as chapters within national histories, 'Revolution! The Atlantic World Reborn' presents, for the first time, the story of the 18th-century Atlantic revolutions as a part of wider, intertwined, global narrative. Vivid text and images provide a context for our understanding of these major social upheavals and their lasting influence on contemporary society.

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Richard Bell has established a significant reputation as a political commentator and 'enfant terrible' in Indigenous art over the past two decades. This stunningly illustrated catalogue features more than 26 colour plates of his provocative and often humorous works. With their bold use of images and text, they force viewers to face the troubling issue of racism in Australia. Bell's inspiration is complex and multi-layered. He is an avid appropriator, borrowing from other artists, periods and cultures, including Roy Lichtenstein, Jasper Johns, Jackson Pollock, and Aboriginal painter Emily Kam Kngwarreye, among others. He works across a wide range of media, including painting, performance, and video, producing powerful messages that confront and unsettle: about Aboriginal and non-Aboriginal Australians' relationship to each other, about their country's history and about art itself. Accompanies the first travelling exhibition dedicated to Richard Bell's work in the United States. Organized by the American Federation of Arts, it opens at the Tufts University Art Gallery, Medford, Massachusetts in September 2011

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'Discovering the Civil War' peels back 150 years of accumulated analysis, interpretation, and opinion to reveal a Civil War that is little-known. Featuring over 250 letters, diaries, photos, maps, petitions, receipts, patents, amendments and proclamations from the incomparable holdings of the National Archives, it takes a fresh look at the Civil War through little-known stories, seldom-seen documents, and unusual perspectives. Grouped into themes such as "Spies and Conspiracies," "Prisoners and Casualties," "Global War," and "Raising Armies," this new book looks beyond the battlefield to the experiences of ordinary people - be they the names of men listed in the "substitute book" who were paid to replace draftees, or firsthand accounts of the Battle of Gettysburg at the Gettysburg veterans 75th anniversary reunion in 1938. Famous documents, such as the 13th Amendment to the Constitution, are juxtaposed with innovative wartime patents, including a multipurpose device that could serve as a tent, knapsack, or blanket, and a message in Chinese script asking for Confederate ships to be barred from Chinese ports - proving that the Civil War became a truly international struggle.

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This publication features the work of French artist Eugène Louis Charvot (1847-1924), a distinguished painter and printmaker. Recognized in his time, Charvot's work was lost to history and has been rediscovered in Jacksonville Florida. A fascinating individual, Charvot practiced medicine for many years but stated that his first love was art. Thus, despite the rigors of a prestigious medical career, Charvot devoted himself to the pursuit of his muse throughout his life. Inspired by the serene countryside of his youth, Charvot became a landscapist, and made his debut in 1876 at the annual Salon in Paris. Spending his medical career in the French military, Charvot was posted in colonial Tunisia (1885-89) and Algeria (1892-96), where he documented the life around him and sent oils back to Paris for entry in the SalonsAfter Charvot's death in 1924, his work fell into obscurity. His family preserved his award-winning etchings, his landscapes and Orientalist paintings as well as his unpublished diary, family letters and sketchbooks. Charvot's daughter, Yvonne Charvot Barnett, brought the majority of his work to Jacksonville, Florida where the discovery of these extensive holdings has led to a reevaluation of Charvot's work and a resurrection of the reputation of this accomplished artist. The works now reside in the Cummer Museum of Art & Gardens, as the Charvot Collection. Through an in-depth review of his career as an artist, this new volume highlights Charvot's breadth of processes, productivity and inspiration in painting, etching and drawing. With a focus on family portraits, pastoral country scenes, nocturnes and North African genre and street scenes, the book weaves family photographs, journal entries and excerpts from family letters to recreate the world view that informed Charvot's oeuvre

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Said to have come from the Benedictine abbey church of Saint Peter in Erfurt, Germany, this statue by Tilman Riemenschneider (c. 1460 - 1531), dated to c. 1495, depicts the church father Saint Jerome as he removes a thorn from the paw of a lion, a legendary account of the saint's kindness. Following the common iconography of the scene, Jerome is dressed in the traditional robes of a Roman cardinal, with the cowl draped over his tonsured head and the broad-brimmed hat on his right leg. Traces of polychromy and gilding suggest that it was once brightly coloured. Drill holes in the hat further indicate that cords and tassels of fabric, typical of a cardinal's hat, would once have decorated the sculpture. Whether the statue was originally commissioned for an altar in a private chapel or for its artistic value remains unknown. Its alleged provenance from a church in Erfurt and Jerome's popularity as a patron saint of humanists and scholars make either scenario likely. Alabaster was prized for its lustre and capacity for fine details from the fourteenth to the sixteenth century. The gleaming stone was used for altarpieces and small sculptures, as well as the tombs of wealthy princes. The book unites alabaster works from the medieval collection of the Cleveland Museum of Art and selected masterpieces of alabaster sculpture from North American museums and the Louvre in Paris, which allow insight into the production of alabaster sculptures in this period. It is striking that these works are of such a particularly exquisite quality that this material was used especially for high-ranking commissions, such as the tomb of Duke Philip the Bold of Burgundy in Champmol near Dijon. The book is accompanied by several essays that examine the subject of alabaster sculpture from different perspectives.

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Pierre-Auguste Renoir's famous painting Luncheon of the Boating Party (1880-81) portrays an informal gathering of real people he knew: fellow artists, journalists, critics, collectors, models and actors. Renoir and Friends deconstructs the painting, revealing the stories behind those he painted and explaining his working methods. Extraordinary details, photographs and contextual works - by Renoir and his contemporaries including Gustave Caillebotte, Edgar Degas, Leon Bonnat and Edouard Manet, draw out information about who these people were. Essays by leading academics focus on Renoir's models and look at how the artist created a painting with universal appeal whilst remaining convincingly specific. AUTHOR: Eliza Rathbone is chief curator emerita at The Phillips Collection in Washington, DC. SELLING POINTS: . The first volume to look in depth at Renoir's Luncheon of the Boating Party . Features over 100 colour images of works by Renoir and his contemporaries, from international museum and private collections 102 colour illustrations

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Fashion Reimagined features 50 outstanding examples of fashionable dress drawn entirely from the outstanding collection of the Mint Museum, Charlotte, NC, including men's and women's fashions from 1760 to 2022. The book is divided into three sections that reflect three aspects of historicism: Minimalism, Pattern and Decoration, and The Body Reimagined. Each catalogue entry addresses a theme and provides information and insights about the individual designers, fabric and construction details, and globalization that is embedded in both the textiles and fashions 1760 to the present. Ranging from court suits to street wear, highlights include an English 18th-century sack back dress, two English men's court suits, early 19th-century printed cotton dresses, wedding dresses from the mid and last quarter of the 19th century, as well as a rare 1920s wedding ensemble by Roman fashion artist Maria Monaci Gallenga, a very rare early 20th-century Ispahan mantle by Paul Poiret, an unusual mid twentieth century Black Narcissus dress by American designer James Galanos, several examples of 1960s and 70s mod and hippie chic style, and innovative contemporary fashions by Giorgio Armani, Romeo Gigli, Zandra Rhodes, Anna Sui, Yoji Yamamoto, Wale Oyejide for Ikire Jones, Anamika Khanna, and Iris van Herpen, among others.

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This pastel belongs to a small number of works of art at the Frick by a female artist. Rosalba Carriera (Italian, 1673 1757) spent most of her life in Venice, then a popular destination for young aristocrats from all over Europe undertaking the Grand Tour-a tour of the continent that served as an educational rite of passage into adulthood. Many of these travelers would go to Rosalba's studio to have a portrait painted, and Rosalba, who began her career as a miniaturist painter in Venice, became internationally acclaimed. Rosalba's pastels are technically innovative, remarkable for their soft edges and sumptuous effects. By binding colored chalk into sticks, she obtained a much wider range of prepared colors, which ultimately expanded the visual possibilities of this medium. Little is known about this portrait, painted about 1730. Despite the fragility of the medium-pastel-it is in pristine condition. The portrayal of the man as a pilgrim, with a black cape and holding a staff, may indicate that he was a member of the Pellegrini family-pellegrini being the Italian word for pilgrims-or that he is someone who traveled on a pilgrimage. More likely, however, his attire is simply a costume related to the Venetian Carnival. Designed to foster critical engagement and interest specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer. AUTHORS: Born in Lausanne in 1980, Nicolas Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st-century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Xavier F. Salomon is deputy director and Peter Jay Sharp Chief Curator, The Frick Collection, New York. SELLING POINTS: . New volume in the best selling Frick Diptych series that began with Holbein's Sir Thomas More by Hilary Mantel . Volume 13 focuses on an exquisite eighteenth-century Italian portrait 45 colour illustrations

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Medieval Money explores the ways art reflected and reinforced the complex ethical discussions that developed from the widespread role of money in everyday life in the Middle Ages. It traces the origins of global money, and surveys economic history, focusing on the environment, the plague, Jews, and institutions, using a wealth of imagery including illuminated manuscripts, coins, artworks, money chests, and account books. The iconography, minting, and foreign exchange of coins are examined, and the choice that Christians faced is investigated: should they save their money or their soul? The authors explore images of Avarice, the greedy punished in hell, and immoral ways to earn and spend money, and analyse representations of charity and voluntary poverty. Final chapters examine the material culture of the monetary economy (from an illuminated oath for minters to purses and lockboxes) and images of medieval money management. AUTHORS: Diane Wolfthal specializes in late medieval and early modern European art. Founding Co-editor of Early Modern Women: An Interdisciplinary Journal, she is David and Caroline Minter Chair Emerita in the Humanities and professor emerita of Art History, Rice University. She is the co-author, with Elisabeth Hollander, of a volume on the fourteenth-century Ma?zor in the Museum of Fine Arts, Houston. Deirdre Jackson is assistant curator of Medieval and Renaissance Manuscripts, the Morgan Library Steven A. Epstein is professor emeritus, department of history at the University of Kansas. He was educated at Swarthmore College, St. John's College (Cambridge University), and Harvard College, where he developed his interests in medieval social and economic history. David Yoon is Mark Salton Associate Curator of Medieval, Renaissance and Early European Numismatics, American Numismatic Society SELLING POINTS: . A richly illustrated interdisciplinary volume, with chapters written by social historian Steven Epstein, numismatist David Yoon, and art historians Deirdre Jackson and Diane Wolfthal . Vibrantly illustrated with illuminated manuscripts, panel paintings, prints, stained glass, sculpture, and all sorts of material objects 150 colour illustrations

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A new survey of the life, creative spirit, and career of Robert W. Ebendorf, one of America's most important artists in the field of found-object jewellery and metalwork.

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Reveals the astonishing creativity, design innovation, and skill of Amish women from communities across the United States, through 50 premier quilts made between 1880 and 1940.

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Craft Across Continents presents 50 objects in two-parts: the first 22 plates focus on works by Japanese makers; the second section of 21 plates on works by American and European practitioners. Marking the mid-way point of the volume is a special 8-page section, printed on a different uncoated paper stock, featuring large-scale, full-page images, including a portrait of the collectors and views of the glass, ceramics, bamboo and other objects as seen in the domestic setting of the collectors' private home. The wide-ranging and highly personal collection includes masterworks of twenty-first-century Japanese wood-fired ceramics, as well as works in porcelain by Satoshi Kino and Machiko Ogawa. Moreover, an additional 20-plus objects were gifted to the Mint in 2021 including further Japanese ceramics, a fine collection of Japanese bamboo sculptures by several generations of makers-a unique feature of the Collection-as well as an indigo resist-dyed wall hanging by Rowland Ricketts, an artist and farmer based in Bloomington, Indiana, using natural dyes and historical Japanese processes to create contemporary textiles. From Europe and the United States, there are major glass sculptures, a seminal installation by Danish maker Tobias Mohl, a mobile by Polish-trained artist Anna Skibska, and fine examples of cast blown, and lamp-worked glass. One of the most spectacular large glazed ceramic vessels in the collection is by the British maker, Gareth Mason. AUTHORS: Jen Sudul Edwards is chief curator and curator of Contemporary Art at The Mint Museum. Joe Earle is an author and curator. He was chair of the Asia, Oceania, and Africa department at the Museum of Fine Arts, Boston and served as vice president and director for the Japan Society Gallery at Japan Society from 2007-2011. Annie Carlano is senior curator of Craft, Design & Fashion at The Mint Museum. Rebecca Elliot is assistant curator of craft, design, and fashion at The Mint Museum. SELLING POINTS: . A wide-ranging and highly personal collection which through both its contents and its structure underscores the subtle interplay of Asian and Western craft practitioners and makers . Reveals how traditional methods of Japanese wood firing and textile dying inform and inspire contemporary makers in Europe and the USA . Accompanies a unique exhibition, which celebrates Lorne Lassiter and Gary Ferraro's unique collection of international craft acquired over decades, and which they have gifted to the Mint Museum to form a central part of its permanent craft collection . A a special 8-page central section features large-scale, full-page images of selected pieces from, and views of the collection as seen in the domestic setting of the collectors' private home 100 colour illustrations

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Featuring striking full-colour images and new research, this publication from the Hong Kong Palace Museum celebrates some of the most important works of horse art from the Palace Museum and the Louvre Museum. Five essays and forty-five entries highlight objects dating from the Han (206 BCE-220 CE) to Qing (1644-1911) dynasties, and explore the horse in art in a way that is accessible to general readers, encouraging them to think through comparisons with objects from both institutions. Centred on the question of human connection to the horse across time in China and beyond, the catalogue entries are divided into sections that examine the horse in mythology and religion, military culture, and transnational traversals, providing a means for reflecting on fundamental issues of human creativity, ambition, and tradition. This is a beautifully designed and thought-provoking volume that will find a ready market among those with an interest in Chinese art and culture. Published to celebrate the opening of the new Hong Kong Palace Museum in July 2022, Grand Gallop accompanies a major exhibition of the same name that is expected to generate significant media attention.

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The form of this extraordinary bronze lamp, the most elaborate of several produced by Riccio (Andrea Briosco), is based on a Roman sandal, and its surface is covered with intricate reliefs modelled with a goldsmith’s refinement and crisp detail. The subjects evoke the populace of classical art and poetry, including a Nereid and Triton, Pan, harpies and innumerable putti, along with goats, musical instruments, shells, masks and garlands. Inspired by the Roman half-boot, the lamp is designed as a bizarre shoe balanced on a pyramidal base, and, as Ian Wardropper discusses in his essay, it would have provided its owner with much pleasure and intellectual stimulation. Early in its history, the lamp is known to have belonged to a series of distinguished Paduan collectors. Paired with Wardropper’s essay is a beautiful poem by James Fenton.

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Claude Monet’s Vétheuil in Winter (1878-79), painted during the artist’s first winter in the village, depicts his new home on the Seine, seen from the opposite bank of the river. Monet’s two and a half years in Vétheuil, a small farming community northwest of Paris, saw two severe winters, the inspiration for this impressionist masterpiece, which is the subject of this ninth volume in the Frick Diptych series. Susan Grace Galassi has written an insightful and engaging essay about Monet’s difficult but productive time in Vétheuil, which saw the death of his wife Camille. The Frick's Monet painting, the only work by the artist in the collection is the basis for other significant canvases made during his stay in the village in both winter and summer. Galassi's essay is accompanied by a text and intriguing new work—Colour experiment no. 109—by the artist Olafur Eliasson, created in response to the Monet painting. Eliasson’s work will be shown at the Frick next to the painting that inspired it.

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The Iconic Jersey: Baseball x Fashion explores the design and aesthetics of the iconic baseball jersey both on and off the sandlot. Featuring over 35 historic and contemporary jerseys and baseball-inspired fashion, this ground-breaking volume also examines wider sociological issues: why do we care so much about sports attire, and what do such clothes mean to us and the wider world? The Iconic Jersey is packed with images: often controversial baseball-inspired fashion— flannel wool fabrics, vibrant technicolour, button-up bib fronts, even ties and collars— drawn from the Baseball Hall of Fame, Cooperstown; the Smithsonian’s National Museum of American History, Washington, D.C.; and the Boston Red Sox; baseball magazines; fashion magazines; and archival photographs, including Terry O’Neill’s famous photos of Elton John at Los Angeles’ Dodger Stadium in 1975 in a Bob Mackie-designed Dodger’s uniform, and Nike’s 2020 designs for the Major Leagues. An essay by Erin R. Corrales-Diaz explores the jersey as an entry point into 170 years of baseball uniforms and examines the relationship between aesthetics and athletics, fashion and function, the collective and the individual, regional and national impulses, and nostalgia and modernity.

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Music is the great equalizer around the world. No matter where it originates or what form it takes, it has had a profound role in shaping the human experience and preserving the history of that experience for centuries. African American music originated out of a heritage shaped by the Transatlantic Slave Trade and forced enslavement. The music born out of this shared identity was a means of survival, a treatise on the struggle for freedom, and an agent of social change, and generated a vast array of musical styles and performance traditions that have defined American music. Musical Crossroads explores how objects can expand our understanding of the ways African American music-making continues to shape and influence society. Five thematic chapters are introduced with an essay by Dwandalyn R. Reece, and accompanied by shorter features written by museum staff. Striking images include Johnny Mathis on stage; Bo Diddley’s Gretsch Guitar; Nina Simone recording "Don't Let Me Be Misunderstood" to name just a few. Featured objects include Radio Raheem’s original boombox used in Spike Lee’s 1989 film, Do the Right Thing; the original Public Enemy logo necklace alongside a story from rapper Chuck D about where the group’s name comes from; and photos of Queen Latifah taken by Hip-hop photographer Al Pereira while she was filming the music video for “Fly Girl”. Numerous illustrated profiles and stories relating to a host of DJs, producers, Black-owned record labels, Black music press, and artists, include magazines like Defender, Blacks Stars, and Vibe; record labels like Vee-Jay, Stax, Motown and Sussex Records; promoters and producers including Berry Gordy Jr, Isaac Hayes, and Ernie Freeman; as well as artists Otis Redding, Nina Simone, Luther Vandross, Little Richard, Bill Withers, Billie Holiday, Whitney Houston, and Janet Jackson, to name a few – they’re all here.

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Although he never studied at the Royal College of Art, Antony Donaldson's friendships with RCA students Patrick Caulfield, Allen Jones and Peter Phillips put him firmly in the vanguard of the Pop Art movement in London in the 1960s. Born in 1939, Donaldson was chosen in 1964 for the landmark New Generation exhibition at the Whitechapel Gallery which included Allen Jones and David Hockney and he became the first Pop Artist to sell his work to the Tate. Like Hockney, Donaldson dreamed of a quiet and relaxed life in southern California and moved to Los Angeles between 1966 and 1968, where he painted daringly simple compositions using saturated colour and sensual forms. In later years Donaldson took up sculpture in a variety of media; his most famous piece is the giant Buddha-like head of Alfred Hitchcock, Master of Suspense, in the courtyard of the Gainsborough Film Studios in London. This monograph includes an illustrated chronology, an exhibition checklist and a bibliography

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100 Treasures / 100 Emotions celebrates the inauguration of the Macquarie University History Museum Sydney, NSW, Australia. This entirely new volume focuses on 100 works from a vast collection of 15,000 objects, to highlight the new museum's focus on social history and the human condition beyond the borders of space and time. This story is told through a mixture of short essays and colour plates of 100 selected objects drawn from across five continents and over the course of 5,000 years. These objects - ranging from fragments of an ancient Egyptian Book of the Dead, to a WWI era Turkish Star medal - have been chosen by Museum staff and Macquarie scholars to achieve a representative and rigorously researched survey of human experience and creativity over five millennia. Professor Martin Bommas, edits short essays on each of the 100 selected objects by a broad range of academic authors, complemented by entirely new photography of the objects commissioned from award-winning photographer Effy Alexakis.

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Focuses on a remarkable, over life-size sculpture of Krishna, an incarnation of Vishnu, in one of the earliest sculptural representations known from Cambodia. The sculpture of Krishna lifting Mount Govardhan is one of the highlights of the Cleveland Museum of Art. Dating from c 600 CE, its story, meanings and depictions in the art of India and Southeast Asia are discussed in this new volume with reference to images of the ideal ruler, protector of the realm, and clan hero. The authors delve into several fascinating aspects behind the sculpture. These include locating the sculpture in the context of the other seven monumental sculptures from the same site, how it would have been dramatically installed in a cave sanctuary amid the delta floodplains, and its connections with the nearby royal center of Angkor Borei. Furthermore, the authors relate the compelling life story of the object from the colonial period to the present day, showing how geo-political and social changes affected the process of conservation and reconstruction. AUTHORS: Sonya Rhie Mace is George P. Bickford Curator of Indian and Southeast Asian Art, Cleveland Museum of Art. Bertrand Porte is sculpture conservator, Ecole francaise d'Extreme - Orient in Phnom Penh. 115 colour illustrations

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Aristotle towers over Western philosophy and science as no other single person does. As they have come down to us, Aristotle's works comprise a veritable encyclopedia of philosophy and logic, the physical and natural sciences, ethics and politics. Aristotle's astonishing range and depth made him indisputably the most important intellectual figure in the Western tradition before the modern age. Although he has been studied continuously for more than two-thousand years, his individual works were dispersed, lost, recovered, and very gradually reunited. The physical transmission of the Aristotelian corpus was a long, complicated, uncoordinated process - not one chain of transmission but many. From the Roman Empire, through the mediation of Arab and Jewish scholars, to the western Middle Ages and scholasticism and up to the cusp of modernity in the late 15th century, Aristotle's works were copied and recopied by scribes in Greek, Arabic, Hebrew, and Latin before finally becoming available again in their original Greek. The volume illustrates the ways in which the Aristotelian corpus has been transmitted over time. In particular, it focuses on one crucial, extended moment: the moment when, thanks to the invention of printing, Aristotle's works became widely available in Latin, Greek, and even in vernacular languages in the late 15th and 16th centuries. At that moment, Aristotle's authority comes under increasing scrutiny as the new science and philosophy of early modern Europe chart different courses for the future. However, Aristotle is not only an obstacle to be overcome, he also serves as a bridge to the new age especially in the work of Jesuit philosophers and scientists. One way or the other, Aristotle had to be dealt with. He could not be avoided. The extraordinary books and manuscripts in this volume, selected from the collection of the Martin J. Gross Foundation, demonstrate just how intellectuals of the time received and wrestled with Aristotle. Through commentaries, treatises, lecture courses in schools, and above all in the written marginalia of books, the volume reveals the extent of the age's engagement with Aristotle. Many of these books and manuscripts have never before been studied, so this is an important invitation to reassess the impact and influence of Aristotle at a point in time when much contemporary scholarship chooses to ignore him.

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Drawn from the Mint Museum of Art’s renowned permanent collection of craft and design in all media—ceramic, pottery, wood, metal, glass, fibre, textiles and design—Craft in the Laboratory highlights how contemporary artists use STEM (science, technology, engineering and mathematics) processes and principles when creating their work. Kate Malone’s knowledge of the chemistry of clay bodies and glazes is employed in her production of sculptures such as Mr. and Mrs. Tutti Atomic. Douglas Harling made Vishnu Dreams using the ancient technique of granulation, aided by his understanding of the roles of surface tension, oxygen reduction, and eutectic bonds in fusing gold granules to a surface. Zoltán Bohus carefully planned the layers of glass in Stratofera on paper before creating it, using his knowledge of geometry and the prismatic qualities of glass. The volume includes essays that discuss the technical aspects of materials and processes.

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Marking a crucial turning point in Caravaggio's life and artistic development, the Crucifixion of Saint Andrew exemplifies the artist's famous tenebristic style, developed during his rise to fame in Rome, and simultaneously signals a new, grittier realism in his work. Inspired both by a Spanish patron and by the urban topography of Naples, a city three times the size of Rome in Caravaggio's day, the Crucifixion of Saint Andrew became a mobile portent of Caravaggio's stylistic revolution when the viceroy brought it with him to Valladolid in 1610. Recounting the complex history of this masterwork and its understudied position in Caravaggio's oeuvre, this book reveals the ways in which the Crucifixion of Saint Andrew functioned first as a devotional aid and subsequently as a harbinger of Caravaggism abroad.

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This new volume presents highlights of the Taft Museum of Art's exceptional collection, which spans over 750 years of creative endevour. Donated to the city of Cincinnati in 1927, Charles and Anna Taft's collection features beautiful porcelain from the Ming and Qing dynasties, paintings by masters including Rembrandt, Gainsborough, Goya, Ingres, Corot, Whistler, and Sargent, and decorative objects including crystal, gold, silver, and enamel-work. The 80 works that feature in this volume, chosen from the 740-piece collection, are presented in four sections, coinciding with the museum's major areas of specialization: European painting, European decorative arts, American art, and Chinese art. Each piece is accompanied by an entry detailing its history and that of its artist or maker written by Taft curatorial staff. Lynne D. Ambrosini's essay explores the collecting practice of Charles and Anna Taft. Deborah Emont Scott's foreword provides a history of the Taft bequest and its lasting significance to the city of Cincinnati and its present day inhabitants. AUTHOR: Lynne D. Ambrosini is deputy director and the Sallie Robinson Wadsworth Chief Curator, Taft Museum of Art. Lynne Ambrosini has overseen the collection and exhibitions at the Taft since 2004, having earlier worked at the Minneapolis Institute of Arts and Brooklyn Museum. She earned a PhD in art history from the Institute of Fine Arts, N.Y.U. Her exhibitions for the Taft include: Hiram Powers: Genius in Marble (2007), Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (2008), and Daubigny, Monet, Van Gogh: Impressions of Landscape (2016). She has also published many articles and given invited lectures on such artists as J.F. Millet, Gustave Courbet, Edouard Manet, J.A.M. Whistler, Claude Monet, and Auguste Rodin. 101 colour and 5 b/w illustrations

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This is the first-ever scholarly publication devoted to the art of Francesco de Mura (1696–1782), one of the greatest painters of the Golden Age of Naples. De Mura, the favourite of the Bourbon King Charles VII, was the chief painter of decorative cycles to emerge from the studio of Francesco Solimena (1657–1747), the famous Baroque artist. De Mura's refined and elegant compositions, with their exquisite light and colouring, heralded the rococo in Naples, and his later style was a precursor of Neo- Classicism. His ceiling frescoes rivalled those of his celebrated Venetian contemporary, Giambattista Tiepolo (1696–1770). Yet, today, De Mura lacks his proper place in the history of art. Author Arthur Blumenthal argues that this is because nearly a third of De Mura's work was lost during World War II, including, most tragically his crowning achievement, a series of frescos at the abbey of Monte Cassino. It is now time to re-evaluate this once celebrated artist. AUTHOR: Arthur R. Blumenthal is director emeritus of Cornell Fine Arts Museum at Rollins College Nicola Spinosa is director of the Capodimonte Museum Naples and former Superintendent of the National Museums in Naples David Nolta is professor in History of Art at Massachusetts College of Art and Design Maria Grazia Leonetti Rodino is governor of the Pio Monte della Misericordia Loredana Gazzara is governor of the Office Picture Gallery and Historical Archive, Pio Monte della Misericordia. 110 colour illustrations

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The Stephen K. and Janie Woo Scher Collection is considered the world's greatest private collection of portrait medals, rivalling many collections in international museums. This fully illustrated catalogue documenting the Scher Collection is an essential resource for scholars, students, collectors, and curators. Portrait medals were developed during the Italian Renaissance and are central to the history of European portraiture, flourishing as an art form through the nineteenth century and into the twentieth century. Though less familiar to us now than painting and sculpture, these exquisitely crafted objects, typically made from lead, bronze, silver or gold, were produced (sometimes in large numbers) to commemorate individuals, to acknowledge special events, and to disseminate the identity and power of their sitters. The study of the portrait medal has become, through the work of Stephen Scher and others, a burgeoning area of new scholarship. Excellent reproductions of all medals to size, with details of obverse, reverse and full captions, are accompanied by scholarly essays, interesting facts and historical references in this important new volume.

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Gauguin, Van Gogh, Cezanne, Monet, Chagall, Picasso-some of the finest works by the greatest artists of the 20th century were collected by two Swiss art patrons, Rudolf Staechelin (1881–1946) and Karl Im Obersteg (1849–1926). They were successful businessmen, and friends, and inspired by the art of their times, actively purchased works by modernist artists. Published on the occasion of a major international exhibition, 'Gauguin to Picasso: Masterworks from Switzerland' features over 60 celebrated paintings from their collections by 22 world-famous artists. Masterpieces include Paul Gauguin's Nafea faa ipoipo (When will you Marry?) (1892), which was recently sold for US$300 million- the highest price ever paid for an artwork-Vincent van Gogh's Daubigny's Garden (1890), Picasso's double-sided canvas Femme dans la loge / Buveuse d'absinthe (1901) and Marc Chagall's three monumental Rabbi portraits. Other extraordinary paintings by artists of international stature include Swiss masters Ferdinand Hodler and Cunio Amiet, Russian expressionist painter Alexej Jawlensky, and works by Edouard Manet, Pierre-Auguste Renoir, Paul Cezanne, Claude Monet, Amedeo Modigliani, Georges Rouault and Wassily Kandinsky. AUTHOR: Dorothy Kosinski is the director of The Phillips Collection, Washington, DC Hans-Joachim Muller is an art critic at the German paper Die Zeit and the culture editor at Basler Zeitung 174 colour illustrations

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. A single, encompassing view of the rise of landscape art in Britain from the eighteenth to the twenty-first century. . Features masterpieces by renowned artists: JMW Turner, Richard Wilson, Joseph Wright of Derby, John Constable, Thomas Gainsborough, Thomas Jones, Frank Brangwyn, August John, Cedric Morris, Stanley Spencer, Claude Monet, Laura Knight, Alfred Sisley, Edward Lear, Graham Sutherland and John Piper. 'Pastures Green and Dark Satanic Mills' recounts the story of British landscape painting from the Industrial Revolution in the late 18th century to the present day. Examining 88 paintings from the National Museum of Wales, this volume traces the history of the landscape through romanticism, impressionism and modernism right up to the post-industrial imagery of the 21st century. The book presents two major essays: one by Tim Barringer on the tradition of British landscape painting and its position within an increasingly industrialised society, the other by Oliver Fairclough on the significance of the Welsh landscape within the British tradition. Featuring masterpieces by renowned artists – JMW Turner, Richard Wilson, Joseph Wright of Derby, John Constable, Thomas Gainsborough, Thomas Jones, Frank Brangwyn, August John, Cedric Morris, Stanley Spencer, Claude Monet, Laura Knight, Alfred Sisley, Edward Lear, Graham Sutherland and John Piper – this volume offers new insights into the cultural history of Britain. Loosely chronological, and divided into six thematic sections, this new volume demonstrates the strong continuity between the British art of today and that of over 250 years ago: contemporary works, such as conceptual artist Richard Long's photo pieces based on hiking in the Welsh mountains echo the poetics of place as deeply as Richard Wilson's landscapes of the 1740s. AUTHOR: Oliver Fairclough is Keeper of Art, National Museum of Wales. Tim Barringer is Paul Mellon Professor of the History of Art, Yale University. 115 colour

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