Search results for ""Pindar Press""

Professor Brilliant's work on Roman art over the last twenty-five years has changed many of the ways in which we look at the subject. The papers reprinted here document the development of the author's views on the art of the Roman world and its links with earlier phases of Greek art. There are three main divisions in the material here. The initial section deals with portraits, including five essays and a number of book reviews. Then follows a section on Rome and Greece, with five essays dealing with the methods by which Roman artists adapted earlier models. A final section deals with symbolic structures and characteristics of Roman art. This includes thirteen essays dealing with various aspects of the art of classical antiquity, including Jewish symbolism and the use of Greek myths in Roman art. Here again a number of the author's reviews of books on the subject are included. The volume makes available for the first time the major part of Professor Brilliant's work on Roman art, including a number of papers published here for the first time.

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This volume brings together for the first time Rosemary Cramp's seminal studies on Anglo-Saxon crosses and sculptural fragments. The papers are principally concerned with the kingdom of Northumbria but the essays also trace the influence of Northumbria's culture and iconography across Anglo-Saxon England.

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This was the first International Conference specifically devoted to the study of Ethiopian art. The Proccedings of the Conference makes available papers devoted to the study of Ethiopian art, as distinct from papers on other aspects of Ethiopian life and civilization. As such, it represents a significant contribution to the study of the art of the Ethiopian people over two thousand years. Convened by Dr. Richard Pankhurst at the Warburg Institute in October 1986, it was the first of a series, the second meeting of which was held in Warsaw in 1990. The contents of this volume are principally devoted to studies of Ethiopian painting, both manuscript illuminations and murals. There are also individual studies on Ethiopian metalwork and architecture, with a section on folk art.

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This new volume by Dr. Rhodes consists of forty studies on the printing and bibliography of Italy and Spain published over the years 1981-1991. The Italian material relates largely to printing in the Northern Italian cities in the fifteenth and sixteenth centuries, including Verona, Venice, Brescia, Treviso and Bologna. The Spanish papers deal with Italo-Spanish editions and cross-influences in this period, and the early printing of a number of important Spanish centres.

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Douglas Barrett was one of the leading western authorities on the arts of India. The articles brought together here are grouped into three separate sections. The first comprises six studies dealing with sculpture in North India. The following section covers painting and sculpture in the Deccan, with five papers on the Amaravati school. The final section is devoted to the sculpture of South India.

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Over the last forty years, Basil Robinson has established a reputation as a leading authority on the art of Persia. His work on Persian manuscript illumination represents one of the most important contributions made in this century to the study of the development of this pivotal branch of Islamic art, which absorbed the influence of Arab and Chinese painting, and influenced in turn the miniature painting of Mughal India. This first volume concentrates on Persian painting. Seven papers examine the general evolution of painting in Persia from the fourteenth to the nineteenth centuries, "mostly preserved in manuscript illumination, with emphasis on that most characteristic of Persian manuscripts, "the Shah-Nameh, the national epic. Particular attention is paid to the Timurid period and the sixteenth and seventeenth centuries. Four reviews of exhibitions of Persian art follow. Thirteen studies are devoted to a later period, the school of painting that arose under the Qajar rulers, when Persian art flourished in such new and diverse media as oil painting and painted enamels. Vol I Contents: Preface A Survey of Persian Painting 1350-1896 Persian Painting and the National Epic Persian Miniatures and Manuscripts Persian Miniatures of the 16th and 17th Centuries Shah Abbas and the Mughal Ambassador Khan Alam: the Pictorial Record Areas of Controversy in Islamic Painting Book Illustration in Transoxiana: the Timurid Period Some Modern Persian Miniatures Persian Miniatures at the British Museum Persian Painting: A Loan Exhibition at the Victoria and Albert Museum Persian Miniature Painting from Collections in the British Isles Qajar Art: An Introduction The Court Painters of Fath Ali Shah The Amery Collection of Persian Oil Paintings Persian Royal Portraiture and the Qajars Some Thoughts on Qajar Lacquer Qajar Lacquer Persian Lacquer in the Bern Historical Museum Persian Lacquer and the Bern Historical Museum Casket A Pair of Royal Book-Covers A Lacquer Mirror Case of 1854 Qajar Painted Enamels A Royal Qajar Enamel The Tehran Nizami of 1848 and other Qajar Illustrated Books Inde.

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Professor van Os has spent twenty years working on Tuscan painting, and his contributions to the study of the Sienese school are of great importance. This volume brings together for the first time his articles on Tuscan art in the period leading up to the Renaissance in Florence and Siena. They represent one of the most important individual approaches to the subject in recent decades. A number of the studies reprinted here have been specially translated from Dutch for this book. The volume begins with five studies on problems of methodology involved in dealing with the art of this period. Eight further studies follow on the iconography of early Tuscan art. Finally eight studies deal with individual Sienese painters.

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Professor Sullivan is a leading authority on the art of China, and has published a number of standard works on both traditional and modern Chinese art. These two volumes bring together for the first time his papers on the subject, and include a number of important studies on the related art of South-East Asia. The first volume concentrates on traditional Chinese art. In its long and relatively uninterrupted development over a period of two thousand years, Chinese art can only be compared with the art of ancient Egypt. The author gives a resume of the stages of this development in his first paper, and isolates certain recurrent themes and attitudes in the four studies that follow. Other papers deal with screen and scroll painting in the early period, and with the excavation of a T'ang emperor's tomb. The period of the Ming and Ch'ing emperors is also covered, leading up to the first contacts with Western art in the seventeenth and eighteenth centuries, and the work of European artists in China. The volume concludes with a number of Professor Sullivan's reviews of works by other scholars on Chinese art, and of exhibitions, and an appreciatlon of the work of Arthur Waley. There is a new preface and index, and the author has supplied additional notes to the original articles which draw attention to subsequent research.

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This second volume of Professor Sullivan's studies covers his work on modern Chinese art and the art and archaeology of South-East Asia. The break between traditional Chinese painting and the European-influenced art of the twentieth century is charted in detail, with an introductory paper that explores the value of the traditional aesthetic for the future of China and East Asia. The developments in Chinese art in the twentieth century are then examined. The conflict between traditional values and new ideas in art, particularly the Marxist legacy of modern China, are dealt with in three further papers, and a final study is devoted to new trends in Chinese art following the trauma of the Cultural Revolution. The author's work on the art of South-East Asia is introduced by three studies on finds of Chinese export porcelain in this region. The close links between Chinese civilization and the native cultures is covered in detail, but as the following studies show, there was much that was original in the art of the region, and Indian elements were also important. The volume concludes with a study of the nineteenth-century Japanese painter, Tessai, whose debt to Chinese art was considerable. Additional notes again draw attention to subsequent work in the field.

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George Henderson's work on English biblical illumination has thrown new light on the sources of some of the most celebrated Anglo-Saxon and Norman illustrated manuscripts and helped to place the astonishing creativity and skill of the artists who worked on these manuscripts within the developing tradition of Bible illumination in the Middle Ages. These two volumes make available Professor Henderson's studies published over twenty years. In the first volume, he traces the links with late-antique pictorial sources, and compares the innovations in interpreting the Bible text with contemporary developments in other artistic media. He also deals with those works of art from the Anglo-Saxon period known from historical sources but now lost, and with the influence that the art of this early period exerted on a later period, the seventeenth century, and its religious disputes. The second volume of Professor Henderson's studies deals mainly with the celebrated Anglo-French illuminated Apocalypses of the thirteenth century. The principal manuscripts are all covered, and the iconographic programmes are examined in detail. Two articles draw attention to newly-discovered fragments of other Apocalypse manuscripts. The volume also includes a number of the author's studies on medieval English seals, where the iconography is often of considerable art-historical importance.

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Civilizations of great diversity have succeeded each other or co-existed in Eastern Turkey, and most of them have left monuments of high quality. Hittite, Urartian, Hellenistic, Roman, Syrian, Byzantine, Armenian, Arab, Seljuk and Ottoman, their remains are all represented in the region. These include some of the most important sites in Near Eastern archaeology, in regions in and near the heartland of the Hittite and Urartian cultures. The Hellenistic cities reflect the introduction of a new civilization, and the Roman and Byzantine empires included all or part of the region, with the prosperous feudal states of Georgia and Armenia on their borders. Besides the Byzantine, three great East Christian monastic traditions, Syrian, Georgian and Armenian, flourished here from the late fourth century onwards, and their monuments have left a permanent mark on the landscape. The Seljuk invasion, followed by the more recent period of Ottoman rule, led to the imposition of a new culture on the region, and its reflection in the monuments. Some of the finest Seljuk buildings are in Eastern Turkey, and the buildings of the Turkish states east of the Seljuk empire form much of the early history of Turkish architecture. The independent Greek empire of Trebizond and two of the four Crusader states lay in Eastern Turkey. The lands of the empires and the smaller medieval states were heavily fortified, and their castles and other fortifications are now spread over the region. The cultural diversity of its inheritance has made Eastern Turkey one of the most fascinating regions for archaeological and art-historical research. These four volumes provide the first comprehensive guide to all of the important historical sites of the region, the result of eight years of travel and research. The monuments are dealt with by geographical location, including a full description of each site, and details on how it can be reached. In the case of the more important monuments, a full bibliography of earlier work is provided. The ample provision of photographs and plans enhances the value of the author's detailed descriptions.

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The publication of Professor Buchthal's work on Crusader miniature painting represented a landmark in medieval studies, and for nearly thirty years this book has remained the standard work of reference on the subject. For the first time the illuminated manuscripts produced in the Latin Kingdom of Jerusalem were assembled as a group, from the twelfth-century Melisende Psalter to the later manuscripts written in Acre, following the fall of Jerusalem itself. Professor Buchthal provides an exhaustive description of the individual manuscripts, with each miniature reproduced. The author's photographs have been used again for this reprint, to maintain the high quality of the original publication, and the format remains the same. Professor Buchthal's examination of the material remains unchallenged, and subsequent research has confirmed the links originally suggested with Byzantine, French and Italian illuminated manuscripts of the same period. The scope of this work, which includes a palaeographical and liturgical study of each of the manuscripts covered, set new standards for art-historical research, and it remains invaluable both as a detailed introduction to the manuscripts and as the most comprehensive study of Crusader miniature painting that has yet appeared. It has been almost unobtainable for a number of years, and this reprint will be welcomed by art-historians and manuscript specialists alike.

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The work of George D. Painter on incunabula and early printing needs no introduction. Ranging from Gutenberg and Caxton to the first printing in France and Spain, the author has done much to illuminate the tangled history of the earliest editions of some of the rarest and most attractive books in European printing. The articles reprinted here feature a number of studies which have become classics in their field. The author’s investigation of Gutenberg’s early work represents a major contribution to the age-old controversy surrounding the invention of printing. Similarly, his studies on Caxton have helped to clarify the date and development of the work of England’s first printer. Also included is his celebrated essay on the most outstanding illustrated book from the fifteenth century, Aldus Manutius’ edition of the Hypnerotomachia Poliphili There is a preface by Dennis E. Rhodes.

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In this second volume of Professor White's studies, the emphasis shifts to Italian art in the thirteenth and fourteenth centuries, and the major figures who were responsible for the decisive changes in painting and sculpture that were to lead on to the Renaissance. Here again, however, there is the same concern with the actual monuments. The author devotes two major studies to the reconstruction of the "original appearance of Duccio's Maestà and of Nicola Pisano's Perugia Fountain. An important new study of the physical evidence for Cimabue's work at Assisi shows the value of an understanding of the working processes involved there. This conviction that the starting point in a thorough investigation into the original appearance or development of any work of art lies in the observation of the physical evidence is central to Professor White's approach, whether this may be the arrangement of panels on a polyptych, or the scrutiny of giornate on a painted ceiling.

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Edward Garrison's work on early Italian panels resulted in the publication in 1949 of the first comprehensive index of Romanesque Italian panel painting, which remains the standard work of reference on the subject. Subsequently, his four-volume Studies in the History of Medieval Italian Painting, published in Florence between 1953 and 1962, represents the most considerable body of research yet published on Italian miniature and panel painting from the eleventh to the thirteenth centuries. These two volumes collect together all the author's articles on Italian fresco and panel painting which have been published in art-historical journals since 1945. This provides both an indispensable supplement to the author's earlier Studies in the History of Medieval Italian Painting, and in including three successive Addenda to his Index of Italian Romanesque Panel Paintings, also serves the function of updating the earlier publications.

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The Tur 'Abdin is a mountainous region in the south-east of modern Turkey, and is architecturally one of the most interesting areas for the study of early Christian architecture. In two journeys into the Tur 'Abdin early in this century, Gertrude Bell examined the more important monastic sites. Her two reports on these journeys, published in 1910 and 1913, made available for the first time a full study of the Christian architecture of the region, and her photographs are particularly valuable since many of the churches have since been destroyed or suffered considerable damage. In the present volume these two seminal studies are reprinted, with the addition of over a hundred and twenty previously unpublished photographs of these monuments from the Bell archive. Gertrude Bell's text is printed as originally published, but has been up-dated by Marlia Mundell Mango with extensive notes which draw attention to subsequent work. The editor has also added an extensive Catalogue of sites and monuments visited by Bell in and around the Tur 'Abdin; this provides an alphabetical gazetteer to all of the sites mentioned in Bell's text, and supplies information about other sites and monuments visited by Bell, but of which she did not publish her photographs. The entries in this sixty-page Catalogue give the relevant information from Bell's published work for each monument; a bibliography of other work on it; building dates from inscriptions and texts; changes to the monument since visited by Bell; and a short summary of publications on the monument. Marlia Mundell Mango has also added a short glossary; a list of dated monuments in the region from A.D. 200-1500; an administrative list of provinces, metropolitan bishoprics and bishoprics covering the ecclesiastical administration of the region in late antiquity; a detailed map which incorporates most of this new information; a bibliography with a survey of archaeological and historical work on the Christian monuments of northern Mesopotamia and a total of 256 of Bell's plates, of which 128 are published here for the first time.

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This selection of twenty-one essays by Professor Kurz is a unique introduction to the art and culture of Europe and the Near East from the Renaissance onwards. His examination of the flow of artistic ideas and artefacts from Europe to the Islamic world is an important contribution to the study of the spread of Western European influence in this period; at the same time the reader is made aware of the extent of European borrowings from Islamic civilization, and the importance of a shared classical heritage. Characterized by an extensive acquaintance with both European and Islamic works of art, Professor Kurz's research in this field remains of fundamental importance. This volume also includes a number of important articles on several major figures in Renaissance and Baroque art, and a study of the patronage of the Emperor Rudolf II, previously available only in a Czech translation. The preface by Professor Sir Ernst Gombrich is both an introduction and a memoir. A bibliography of Otto Kurz's publications and an index are included. The volume is illustrated with 191 plates.

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Niamh Whitfield is a leading authority on the metalwork of early Medieval Ireland and Scotland . Celtic metalwork of the seventh to twelfth centuries is extremely accomplished technically, and she has aimed at a thorough understanding of its manufacture. She has also been concerned to place Early Medieval Celtic design in its European context, and to analyse its relationship with Anglo-Saxon and continental work, as well as its debt to traditions which ultimately originated in the Classical world. Dr Whitfield has written about subjects as diverse as the origins of the gold used in early Medieval Ireland and Scotland, the development of animal ornament and geometrical principles of design. Her archival studies have succeeded in identifying the find-spot of the celebrated 'Tara' brooch and in documenting panels of ornament which are now missing. In addition, she has explored early Irish texts for attitudes to jewellery and clothing, considered the brooch as an emblem of status, looked at how brooches were worn, and whether descriptions of clothing and accessories in an early Irish saga provide an accurate description of contemporary finery.

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