Search results for ""Giles""

Lines of Discovery: Four Centuries of American Drawing presents a major new thematic and chronological catalogue survey of the Columbus Museum's most significant holdings of drawings and works on paper, including examples in graphite, charcoal, monotype and pastel. At the heart of the Columbus Museum's collection, and of this volume, is the work of a remarkable individual, Dr. Phillip L. Brewer, who has amassed a truly significant collection of American works on paper – both in terms of its depth and breadth. For the first time this volume presents nearly 200 of these master drawings, 120 of the most important of which are grouped into six chapters, illustrated in full colour, and accompanied by extended catalogue entries written by leading experts. A further 79 works are presented as colour and mono thumbnails interspersed amongst the images of the key works. Included are images by Copley, West and Cole that date from the earliest years of American nationhood; works by Oscar Bluemner, Arthur Dove and Morton Schamberg which herald the advent of modernism; while others by Hans Hoffmann, Yasuo Kuniyoshi, Blanche Lazzell and Rico Lebrun confirm its continued presence through such varied expressions as social realism, surrealism and abstraction. While artists like Milton Avery, Jack Beal, Paul Cadmus, Philip Evergood, Nancy Grossman, and Louise Nevelson explore the strength and beauty of the human form, James Valerio and Andrew Wyeth document the changing faces of the natural world. Together these works, and Lines of Discovery, offer a comprehensive survey of the history of American art. AUTHOR: Stephen C.Wicks is curator of Collections and Exhibitions at the Columbus Museum. Charles T. Butler is director of the Columbus Museum. Theodore E. Stebbins, Jr. is John Moors Cabot Curator of American Paintings at the Museum of Fine Arts, Boston. 155 colour & 80 b/w illustrations

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“It is truly extraordinary to me that so much beauty has sprung from such dark times in Romania, and that is what this book wishes to capture. Art speaks its own language.”—From the Preface Despite Ceaușescu focuses on 91 works, by 13 artists—Horia Bernea, Ştefan Câlţia, Marin Gherasim, Vasile Gorduz, Marcel Guguianu, Sorin Ilfoveanu, Georgeta Năpăruş, Florin Niculiu, Ion Pacea, Corneliu Petrescu, Silvia Radu, Gheorghe Şaru and Icon workshop—drawn from the 900-work Tyler Collection of Romanian Art at the University of Tasmania. The paintings, sculpture, and ceramics were created by artists during the 1970s and 1980s. Fully illustrated throughout in color—with catalogue plates and a checklist—each work of art features an entry with specifications, artist biographical information, stylistic influences, significance and social context, as well as notes. The photographs are by Lee Ewing, sculpture photographer at the National Gallery of Art, Washington DC.

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Determined presents a concise overview of Black history in Virginia from the arrival of the first enslaved Africans in Virginia in 1619 through the groundswell of racial justice protests of 2020. These four centuries encompass slavery and emancipation, segregation and the civil rights movement, the election of the first Black president and the rise of Black Lives Matter. Throughout this complex history, Black people have fought for freedom, justice, and opportunity and against oppression, discrimination, and dehumanization. Their efforts have brought meaningful changes to American society by forcing the nation to define the meaning of its highest ideals of democracy and universal equality. Arranged chronologically, this book explores 400 years of Black history through the stories of key figures and events in Virginia that shaped the fight for Black equity. A few of the individuals featured include John Punch, whose punishment for attempting to escape bondage in 1640 began the codification of a system of slavery that spread throughout the original Thirteen Colonies, and Nat Turner, who shocked the nation with a slave revolt in 1831 that challenged the institution of slavery. John Mitchell, Jr. was a journalist-editor who championed Black pride and civil rights in the Jim Crow era, and Barbara Johns led a student protest that became part of Brown v. Board of Education (1954), the landmark Supreme Court decision dismantling legalized segregation. A new generation of activists like Zyahna Bryant continues the fight for racial equity today. Illustrations of historical artifacts and images bring to life these and other stories of Black determination and resistance. Determined focuses on Virginia, yet it tells an American story. Black people have shaped the nation’s economic, political, and cultural identity, and Virginia has played a formative and central role in national race relations. This book provides a timely reckoning with America’s fraught history with race and systemic racism. It fosters a greater understanding of the legacies of slavery, segregation, and white supremacy to meet the challenges of today and forge a better tomorrow.

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This is a wonderful overview of the remarkable range of dog portraits--there are no human sitters--produced over the last 250 years. It features well-known works such as Rosa Bonheur's Brizo, (one of the best-loved portraits in The Wallace Collection), George Stubbs' Turk, Thomas Gainsborough's portrait of his two dogs Tristram and Fox, Lucian Freud's oil painting of Pluto, his pet whippet, and David Hockney's dachshunds Stanley and Boodgie.Over 50 works, arranged by theme, are drawn from major British collections, including the Royal Collection, the V & A, Tate Britain, the British Museum, and a wealth of regional museums and private collections. In addition memorabilia and souvenirs-bronzes, photos, brooches, and Faberge works, many relating to the British royals, especially Queen Victoria and her children- all evoke the sense of a cabinet of curiosities. This is a must-have for dog lovers.

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An extraordinary book about one of he most comprehensive groupings of ancient Egyptian jewellery. Jewels of the Nile celebrates the very first time that the Worcester Art Museum's internationally important collection of Egyptian jewellery – which has undergone conservation and cleaning – has been shown together. This strikingly illustrated book introduces the reader to the collection of an early 20th century Boston couple with a passion for ancient Egypt. The collectors, Laura and Kingsmill Marrs, were guided in their acquisitions by Howard Carter, the archaeologist who would later achieve world-wide recognition for his discovery of the tomb of Tutankhamun (1922). Under his guidance, the Marrs's purchased an outstanding selection of scarabs, amulets, jewellery and cosmetic-related articles, including rare blue-toned stone vessels. They also acquired a group of Carter's watercolour renditions of important Egyptian sites and royal figures. These artifacts, as well as objects from Worcester's stellar collection of Egyptian antiquities, are included in the publication. AUTHORS: Peter Lacovara is director of the Ancient Egyptian Archaeology and Heritage Fund and former curator at the MFA Boston and Michael C. Carlos Museum. Yvonne Markowitz is the Rita J. Kaplan and Susan B. Kaplan Curator Emerita of Jewellery at the MFA Boston; Paula Artal-Isbrand is the objects conservator who executed the cleaning and conservation treatment. 304 colour illustrations

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This third volume in the Frick Diptych series offers fresh insight into a pair of candelabra that represent the pinnacle of luxury and taste in the years prior to the French Revolution. Vignon tells the fascinating story of these objects that are made of two small white vases with extraordinary gilt-bronze mounts by Pierre Gouthière, the celebrated eighteenth-century French chaser and gilder. Vignon's essay is paired with a text by De Waal in which he examines what it is to make, own, and desire such complex objects

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37 eternal reflections that have flowed through the tides of time to soothe the spirit, presented within a unique framework of rare sixteenth century art and striking contemporary images, a glorious sequel to Love & Wisdom. The eternal reflections in this new volume have flowed through the tides of time to soothe the spirit. This special gift book with gilded edges takes the reader on an uplifting journey with inspirational quotes that are as relevant today as they were centuries ago. Stunning photographs of water, and its beauty in nature, are framed by rare 16th century Illumination manuscript borders to showcase poignant messages of love, joy, grief, resilience, gratitude, enlightenment, and peace. Author Alexandra Villard de Borchgrave's moving introduction, in which she writes of her personal loss, inspires the reader to re-embark on the spiritual journey started in Love & Wisdom. AUTHOR: Alexandra Villard de Borchgrave has built a reputation as a photojournalist, author, poet, and philanthropist. Her photographs have appeared on the covers of internationally renowned publications, such as Newsweek and Paris Match. She is the co-author of Villard: The Life and Times of an American Titan (2001), and the author of Healing Light: Thirty Messages of Love, Hope, and Courage (2005); Heavenly Order: Twenty Five Meditations of Wisdom and Harmony (2008); Beloved Spirit: Pathways to Love, Grace, and Mercy (2011), To Catch A Thought: 50 Reflections for the Heart (2014); and Love and Wisdom: 37 Timeless Reflections. Mrs. de Borchgrave founded the nonprofit organization, the Light of Healing Hope Foundation, in 2010 with the mission of giving books as gifts to hospitals and hospices to bring comfort and healing to those in need. SELLING POINT: . A stunning sequel to Love & Wisdom. Images from sixteenth century art from the Smithsonian's Freer/Sackler Gallery and contemporary photographs from the National Geographic Image Collection. 50 colour illustrations

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This is a first-rate history of photography. As with his previous publication Twentieth Century (2019), author and curator David Acton uses the extraordinary and wide-ranging collection held by the Snite Museum to bring to life 100 photographs which encompass the 19th century. He tracks the history, artistic concepts, and technical advances of photography, from the pioneering work of William Henry Fox Talbot (1800-1877), Alphonse Louis Poitevin (1819-1892), Frederic Flacheron (1813-1883), Roger Fenton (1819-1869), Desire Chanay (1828-1915), Felice Beato (1832-1909), Mathew B. Brady (1822-1896), Julia Margaret Cameron, 1815-1879), William Bell (1830-1910), Louis-Maurice Boutet de Monvel (1850-1913), and Jacob Riis (1849-1914). The volume provides a striking pictorial history, with speciality areas including Mathew Brady's famous photographs of the Civil War and the exploration of the American West by photographers including Eadweard Muybridge and Charles Savage. Acton provides historical context, brief biographies, and a glossary of photographic terms.

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All of the artists use the topic of Nature as a means of asking what it is to be human in a world increasingly chaotic and divorced from our physical landscape. Forces of Nature: Renwick Invitational 2020 features artists Lauren Fensterstock, Timothy Horn, Debora Moore, and Rowland Ricketts. Nature provides a way for these invited artists to ask what it means to be human in a world increasingly chaotic and divorced from our physical landscape. Representing craft media from fiber to mosaic to glass and metals, these artists approach the long history of art's engagement with the natural world through unconventional and highly personal perspectives. Forces of Nature: Renwick Invitational 2020 is the ninth installment of the Renwick Invitational. Established in 2000, this biennial showcase highlights midcareer and emerging makers who are deserving of wider national recognition. The featured artists work in a wide variety of media, from Lauren Fensterstock, who creates detailed, large-scale installations using intensive modes of making drawn from the decorative arts, including paper quilling and mosaic, and from whom SAAM has commissioned a site-specific work - inspired in part by the illustrated renaissance German manuscript The Book of Miracles - that will transform an entire gallery at the Renwick, to Timothy Horn, who creates exaggerated adornments that combine natural and constructed worlds, taking inspiration from objects as varied as baroque jewellery patterns and Victorian era detailed studies of lichen, coral, and seaweed, from bronze and glass, as well as unusual materials like crystalized rock sugar, to evoke the extravagant Amber Room in the Catherine the Great's palace of Tsarskoye Selo; and from Debora Moore, known for her exquisitely detailed glass renderings of orchids, and who is represented in this volume in her new series, Arboria (2018), in which Moore focuses less on realism and more on capturing an intensely personal experience of beauty and wonder, to Rowland Ricketts who creates immersive installations using handwoven and hand-dyed cloth, starting on his farm, where he cultivates the indigo plants he uses to colour his artwork, fully linking his material and process with the finished product. Participatory engagement from non-artists, forms a major part of Rickett's work, emphasising the relationship between nature, culture, the passage of time, and everyday life. AUTHOR: Nora Atkinson is the Lloyd Herman Curator of Craft Renwick Gallery, Smithsonian American Art Museum Washington, DC. 74 colour illustrations

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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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Ninth volume in the Double Exposure series draws upon photographs in the NMAAHC's collection to explore the dynamic ways sports influence the social, political, and cultural life of African Americans.

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This brand-new, lavishly illustrated, publication features over 90 works by Woo Chong Yung, (Wu Zhongxiong), most of which have never been published or publicly displayed.

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The Three Philosophers by Giorgione (Italian, 1477 1510) in the Kunsthistorisches Museum in Vienna and St. Francis in the Desert by Giovanni Bellini (ca. 1424/35 1516) in The Frick Collection, New York, are two of the most celebrated paintings of the Venetian Renaissance. Between at least 1525 and 1556 the two paintings were displayed together in the same house in Venice, the palazzo of Taddeo Contarini (ca. 1466 1540), a member of one of Venice's wealthiest patrician families. For the first time in more than four hundred years, these two masterpieces will be reunited. Accompanying their display at the Frick, this book explores the origins of the paintings and re-evaluates their shared histories in the collection of Taddeo Contarini. AUTHOR: Xavier F. Salomon is the deputy director and Peter Jay Sharp Chief Curator at the Frick Collection in New York. SELLING POINTS: . Reunites two Italian Renaissance masterpieces after more than four centuries apart, affording a re-examination of their joint history 35 colour illustrations

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Scottish immigrant James Bryce (1812–1893) began his glassmaking career at the age of ten as a child labourer on the floor of a Pittsburgh glasshouse working for $1.25 a week. In 1850 he founded his own glassware company just as pressed glass was increasing in popularity. Pressed glass transformed the lives of everyday people by making beautiful tableware widely available to those who could not afford the expensive blown and cut crystal enjoyed by their wealthy neighbours. Bryce became one of the largest producers of pattern glass in America and by 1871 was shipping its products all over the world. The company continued operations for 113 years, guided by second and then third generation family members. This volume celebrates the beauty and artistry of the naturalistic designs, colourful tableware, and whimsical novelties Bryce produced between 1850 and 1891. At its heart, this book is a highly-illustrated work with 190 newly commissioned colour plates beautifully photographed by leading decorative arts photographer Gavin Ashworth. It concludes with a compendium of authenticated Bryce products illustrated primarily with period line drawings that will be a valuable tool for both sophisticated glass scholars and casual collectors alike.

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Various identities for the richly dressed, contemplative young man in this portrait have been proposed but none with any certainty. The mood of the subject and the diffused, gentle play of light over the broadly painted surfaces are strongly reminiscent of Titian’s Venetian contemporary Giorgione. In many ways, the Frick portrait epitomizes a new tendency in Italian Renaissance portraiture in which the depiction is intended less as a description of the sitter than as an encounter with them. A rich contribution by artist Elizabeth Peyton accompanies an illuminating essay by Giulio Dalvit which addresses the many questions of provenance, chronology, attribution and of who this mysterious young man might be.

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Imperial Colors focuses on the paired busts of Emperor Septimius Severus (r. 193-211) and his wife, Empress Julia Domna in the Eskenazi Museum of Art, two of the finest known examples of later Roman portrait sculpture. This book presents innovative multidisciplinary research that is accessible both to specialists and generalists. In addition to contextualizing these portraits in the visual art and culture of the wider Roman empire, this publication will provide the first detailed and secure evidence for their original appearances. Highlights of this include the recently discovered vestiges of colorful paint, fresh insights into masterful marble polishes, and fascinating possibilities regarding their production and display in antiquity. These sculptures are also carefully constructed images, designed to promote political ideas. They represent continuity with older Imperial models but were updated to create a distinctive visual language for the new Imperial house.

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Bob Jones Jr. founded the collection as an educational effort and opened it on the campus of the university named after his father in Greenville, South Carolina, in 1951. Those first 25 paintings included works by Bicci di Lorenzo, Luca Giordano, El Greco, and Tintoretto, and today the collection comprises over 400 paintings, as well as a wide range of sculpture, decorative arts, and antiquities. It is widely recognized among scholars as one of the finest collections of Renaissance and Baroque paintings in America, and a document of the revival of the taste for Baroque pictures in the mid-20th century. Erin Jones’s introduction provides an overview of the history of the various iterations of the Museum & Gallery, even as it looks forward to a new home in the centre of its community. Richard P. Townsend’s essay presents the most in-depth examination to date of Bob Jones Jr. as a collector, extensively using letters, invoices, and photographs to paint a picture of Jones hitherto not available. At the heart of the volume is the presentation of 55 paintings, featuring works by great European masters including Botticelli, Bouts, Cranach, Guercino, Jordaens, Preti, Reni, Ribera, Rubens, Tiepolo, and Zurbarán.

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The Stebbins Collection - the private collection of Dr. Theodore E. Stebbins, Jr., the esteemed historian of American art and foremost expert on Martin Johnson Heade, and his wife, Susan Cragg Stebbins, successful author and art historian - consists of 70 American paintings, sculpture, and works on paper by 53 artists. Recently donated to The Charles Hosmer Morse Museum of American Art, Florida, this incredible collection includes remarkable works by American masters ranging from Martin Johnson Heade and Thomas Eakins to Fidelia Bridges and John La Farge, well-known artists Albert Bierstadt and Thomas Moran and little-known figures like Arthur I. Keller and Walter Granville-Smith. Publication in October 2021 will not only highlight the significance of this private collection built over a lifetime by the Stebbinses, but it is also a valuable contribution to the field of 19th and early-20th-century American art, and to the history of collections and collecting.

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This entirely new volume illuminates the complex intersection of western and eastern culture and civilization in the Eastern Mediterranean during the period of the Crusades from the eleventh to late thirteenth century; in particular it presents and studies 20 Byzantine and Mamluk Egyptian artworks and illuminated manuscripts drawn both from the collections of the Museum and external loans. The diverse artworks-ceramic bowls, Sgraffito ware, gold coins, glass jewellery and leaves from the Qur'an, and other illuminated manuscripts-are presented in broad chronological and thematic sections, each with an introductory text by a Professor Martin Bommas of the Museum, and other guest authors. These sections look at these objects within the broad context of the Crusades and the history of the Byzantine Empire and Mamluk Egypt, as well as considering reception to, and presentation of, Mamluk heritage in modern-day Cairo, and the reception of object of non-European heritage in Australia. In addition to the main sections and presentation of the objects, many also illustrated using wonderful colour details for the section openers, the volume includes a timeline, selected bibliography and brief biographies of the contributing authors.

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An essay by Xavier F. Salomon paired with a contribution by award-winning novelist Alan Hollinghurst bring to life Jean-Honore Fragonard's (1732-1806) Progress of Love, a series of fourteen paintings considered by many to be the artist's masterpiece. The first four paintings were commissioned in 1771 for the comtesse du Barry, to be installed in 1772 in Louveciennes, the pavilion outside Paris built for her by her lover, Louis XV. By 1773 the canvases, The Pursuit, The Meeting, The Lover Crowned and Love Letters, had been rejected by Du Barry and returned to the artist. In 1790 Fragonard moved the canvases to his cousin's house, the Villa Maubert, in Grasse, and over the course of the year painted ten additional panels: two large-scale works, Love Triumphant and Reverie; four narrow "strips" depicting hollyhocks, and four overdoors of putti. Sold by the Maubert estate to the dealer Agnew's in 1898, the works were purchased in February 1915 by the industrialist Henry Clay Frick. By May 1916 the panels were installed at Frick's new mansion in New York in the present-day Fragonard Room in The Frick Collection.

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An expansive collection catalogue that offers a multiplicity of fresh perspectives on recent modern and contemporary art acquisitions in The Phillips Collection. Planned to coincide with The Phillips Collection's centennial and exhibition, this ground-breaking volume offers an unprecedented breadth of insights and inclusive narratives on the Phillips's growing art collection from a range of voices, including artists, critics, and scholars. Seeing Differently features works across wide-ranging media by renowned artists from the 19th to the 21st centuries, including Benny Andrews, Alexander Calder, Edgar Degas, Simone Leigh, and Renee Stout. An opening essay by Dorothy Kosinski, artist conversations, thematic essays, and 150 plates with 50 object responses by notable contributors, ensure that this will be a lasting art historical resource. AUTHORS: David C. Driskell is an artist, scholar, and professor emeritus at the University of Maryland. Mary Jane Jacob is professor and executive director of exhibitions at The School of the Art Institute of Chicago. Dorothy Kosinski is Vradenburg Director & CEO of The Phillips Collection. Elsa Smithgall is senior curator at The Phillips Collection. 278 colour illustrations

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A major new book about Doris Lee, one of the top female artists - indeed among the top figurative artists, regardless of gender - in the American art world from the mid-1930s through the 1950s. Simple Pleasures presents the first major critical assessment of works by the artist Doris Lee (1904–1983). Lee was one of the most recognised artists in America during the 1930s and 40s, and was a leading figure in the Woodstock Artist's Colony. Her oeuvre reveals a remarkable ability to merge the reduction of abstraction with the appeal of the everyday. In so doing, she offers one of the very rare examples of a coherent visual identity that successfully bridged the various artistic "camps" that formed with the shift in the art world in the post-World War II era. Doris Lee exploded onto the national scene in 1935 when her painting Thanksgiving was awarded the Art Institute of Chicago's Logan Prize and instigated the Sanity in Art movement in protest. Two years later, her painting Catastrophe was purchased by the Metropolitan Museum of Art. Simple Pleasures explores this initial national recognition in the 1930s within the context of American Scene painting, and traces the artist's thematic interest in the simple objects and scenes of the everyday through her career. It also examines the influence of the rise in abstraction during the late 1940s and 1950s, and the particular way in which this abstraction found resonance with Lee's long-held interest in, and collections of, folk and non-western art. During this post-war period, Lee, like many of her American Scene colleagues, found lucrative work in the heyday of commercial advertising. Lee's commercial commissions for patrons such as American Tobacco Company, Life magazine, Abbott Laboratories, and Associated American Artists are especially compelling in both their populist accessibility and in their deceptively sophisticated abstraction. Sixty-five works by the artist span the 1930s through the 1960s and are comprised of paintings, drawings, prints, and commissioned commercial designs in fabric and pottery. Included are advertisements by companies that commissioned images from Lee, and photographs that contextualise the artist's work within the Woodstock artist's community. AUTHORS: Barbara L. Jones is chief curator, The Westmoreland Museum of American Art, Greensburg, PA, and the author of Samuel Rosenberg: Portrait of a Painter (2003). Melissa Wolfe is curator of American Art, St. Louis Art Museum, and co-editor of Reflections: The American Collection of the Columbus Museum of Art (2019). John Fagg is professor of American Studies, University of Birmingham, UK, and author of 'That Abused Word: Genre': The 1930s Genre Painting Revival in The Space Between: Literature and Culture 1914-1945 (2011). Tom Wolf is professor of Art History at Bard College, NY and leading Yasuo Kuniyoshi scholar. 157 colour illustrations

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While critically recognized and praised, Bluhm's work has never received the level of attention that some of other contemporaries, like Joan Mitchell and Sam Francis. In part, this is the result of Bluhm's unwillingness to cater sufficiently to those in the commercial art world; but it is also due to changing art tastes in the 1960's, with the advent of Pop Art - which Bluhm found utterly lacking in beauty and passion - that placed Bluhm in a critical lacuna. The over eighty works featured here are interspersed with short texts and extended commentaries, and complemented with comparative images of ephemera or other short unpublished texts, such as Frank O'Hara's poems that formed part of a significant body of paintings produced by Bluhm in the early 1960s. Together the artworks chart the full trajectory of Bluhm's career over a period of 50 years. An introduction by Jay Grimm presents a more intimate, biographical approach to Bluhm's work, based on unpublished interviews with Cary Bluhm (Norman Bluhm's widow) and Jay's interviews with Norman Bluhm. The volume also features a previously unpublished interview by Paul Cummings with Norman Bluhm from 1969.

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