Search results for ""National Gallery of Art,Washington""

This volume, the second in the series to catalogue the Gallery's collection of decorative arts, mainly draws from the renowned collection of the Widener and Steele families. It focuses primarily on Chinese ceramics from the Qing period, including earthenware, stoneware, and polychrome porcelain. In addition, rugs and carpets from the collection of Peter A.B. Widener are catalogued and published here for the first time.

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The National Gallery's collection encompasses the neoclassicism of Jacques-Louis David as well as the naturalism of the Barbizon painters. The works of Jean-August-Dominique Ingres, such as the Gallery's famous portrait of Madame Moitessier, are precursors to the classical style that dominated later in the century. Jean-Baptiste-Camille Corot's verdant landscapes, Honore Daumier's political satires, and Jean-Francois Millet's realism are also included in this richly illustrated volume.

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More than one hundred works are catalogued in the second of two volumes devoted to the National Gallery of Art's holdings of nineteenth-century American paintings, including virtually all of the important portraits in the collection. Distinguished in part by the concentration of works by three preeminent artists, Thomas Sully, John Singer Sargent, and James McNeill Whistler, this collection also includes John Quidor's The Return of Rip van Winkle, Albert Pinkham Ryder's Siegfried and the Rhine Maidens, and Rembrandt Peale's Rubens Peale with a Geranium. The author has skillfully untangled the misattributions, misidentifications, and inaccurate provenances surrounding many of the paintings.

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The National Gallery's collection of nineteenth-century sculpture is dominated by thirty-seven works by Auguste Rodin, among them The Kiss, and Honore Daumier's celebrated portrait busts. These works, as well as sculptures by Antoine-Louis Barye, Jean-Baptiste Carpeaux, Paul Gauguin, and Theodore Gericault, are examined in unprecedented depth, shedding new light on many issues of scholarship. An essay about Rodin and Mrs. John W. Simpson, the artist's most important American patron, and a selection of letters between the Simpsons and Rodin chronicle this artist-patron relationship. Works by American sculptors of the period--Bela Lyon Pratt, William Rimmer, Augustus Saint- Gaudens, and Henry Merwin Shrady--are also included here.

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Published to accompany a major exhibition originating at the National Gallery of Art, Washington, this volume illuminates Picasso's radical reformulation of human physiognomy. Containing eighty-two color illustrations and sixty-eight duotones, this catalogue explores the Fernande portraits and related works as a single oeuvre.

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An authoritative and comprehensive celebration of the life and work of one of the most prominent artists of the Venetian Renaissance Meticulously researched and luxuriously illustrated, this volume offers a comprehensive view of Vittore Carpaccio (c. 1460/1466–1525/1526), whose work has been admired for centuries for its fantastical settings enriched with contemporary incident and detail. Capturing the sanctity and splendor of Venice at the turn of the sixteenth century, when the city controlled a vast maritime empire, Carpaccio combined careful observation of the urban environment with a taste for the poetic in his beloved narrative cycles and altarpieces. Providing a new lens through which to understand Carpaccio’s work, a team of distinguished scholars explores various aspects of his art, including his achievement as a draftsman. In addition to emphasizing the artist’s innovative techniques and contributions to the development of Venetian Renaissance painting, this study includes an in-depth consideration of the fluctuations in the reception of Carpaccio’s work in the five hundred years since the artist’s death. Published in association with the National Gallery of Art, Washington Exhibition Schedule:National Gallery of Art, Washington (November 20, 2022–February 12, 2023)Palazzo Ducale, Venice (March 18–June 18, 2023)

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How an ingenious printmaking technique became a cross-cultural phenomenon in Enlightenment EuropeDriven by a growing interest in collecting and multiplying drawings, artists and amateurs in the eighteenth century sought a new technique capable of replicating the subtlety of ink, wash, and watercolor. They devised an innovative and versatile new medium—aquatint—which would spread in use across Europe within a few decades, its distinctive dark tones making possible a remarkable variety of ingenious imagery.In this illuminating book, Rena M. Hoisington traces how the aquatint technique flourished as a cross-cultural and cosmopolitan phenomenon that contributed to the rise of art publishing, connoisseurship, leisure travel, drawing instruction, and the popularity of neoclassicism. She offers new insights into sophisticated experiments by artists such as Francisco Goya, Maria Catharina Prestel, Paul Sandby, and Jean-Baptiste Le Prince. Marvelously illustrated with rare works from the National Gallery of Art’s collection of early aquatints, this engaging book provides a fresh look at how printmaking contributed to a vibrant exchange of information and ideas in Europe during the Enlightenment.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleNational Gallery of Art, Washington, DCOctober 24, 2021–February 21, 2022

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An illuminating look at how the Pre-Raphaelite movement was embraced by a group of vanguard American artists Bringing together insights from a distinguished group of scholars, this beautiful book analyzes the history and historiography of the American Pre-Raphaelites, and how the movement made its way from England to America. Led by Thomas Charles Farrer—an English expatriate and acolyte of the hugely influential English critic John Ruskin—the American Pre-Raphaelite artists followed Ruskin’s dictum to depict nature close up and with great fidelity. Many members of the group (including Farrer, who served in the Union army during the American Civil War) were also abolitionists, and several created works with a rich political subtext. Featuring the work of artists such as Fidelia Bridges, Henry and Thomas Charles Farrer, Charles Herbert Moore, Henry Roderick Newman, and William Trost Richards, this generously illustrated volume is filled with insightful essays that explore the influence of Ruskin on the American artists, the role of watercolor and photography in their work, symbolism and veiled references to the Civil War, and much more.Published in association with the National Gallery of Art, WashingtonExhibition Schedule:National Gallery of Art, Washington (04/14/19–07/21/19)

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The first book-length examination of the clay models and creative process of the preeminent neoclassical sculptor Antonio Canova “A comprehensive, beautifully illustrated catalog.”—Karen Wilkin, Wall Street Journal The most celebrated sculptor of the neoclassical age, Antonio Canova (1757–1822) established himself as the preeminent artist of his time with his funerary monuments and meticulously carved marbles on classical themes. Although his idealized and sensual sculptures are widely known, this is the first book devoted entirely to the brilliantly expressive clay models that he made in preparation for his marble sculptures. Only sixty-five of his terracotta models survive today. Extraordinarily modern in their boldness, the models retain the touch of the artist’s hand and yield a revelatory glimpse into Canova’s imaginative and technical process. The authors, with expertise in art history and conservation, examine Canova’s techniques for making terracotta models, including how he used clay to develop full-scale models that his assistants copied in marble, and his practice of gifting his models to friends. Distributed for the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington, DC (June 11–October 9, 2023) Art Institute of Chicago (November 19, 2023–March 18, 2024)

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An expansive look at portraiture, identity, and inequality as seen in Dorothea Lange’s iconic photographs Dorothea Lange (1895–1965) aimed to make pictures that were, in her words, “important and useful.” Her decades-long investigation of how photography could articulate people’s core values and sense of self helped to expand our current understanding of portraiture and the meaning of documentary practice. Lange’s sensitive portraits showing the common humanity of often marginalized people were pivotal to public understanding of vast social problems in the twentieth century. Compassion guided Lange’s early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, and Latin America. Drawing on new research, the authors look at Lange’s roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities—topics that remain as relevant for our times as they were for hers. Published in association with the National Gallery of Art, WashingtonExhibition Schedule: National Gallery of Art, Washington, DC (November 5, 2023–March 31, 2024)

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The first comprehensive account in English of Renaissance Spain’s preeminent sculptor Alonso Berruguete (c. 1488–1561) revolutionized the arts of Renaissance Spain with a dramatic style of sculpture that reflected the decade or more he had spent in Italy while young. Trained as a painter, he traveled to Italy around 1506, where he interacted with Michelangelo and other leading artists. In 1518, he returned to Spain and was appointed court painter to the new king, Charles I. Eventually, he made his way to Valladolid, where he shifted his focus to sculpture, opening a large workshop that produced breathtaking multistory altarpieces (retablos) decorated with sculptures in painted wood. This handsomely illustrated catalogue is the first in English to treat Berruguete’s art and career comprehensively. It follows his career from his beginnings in Castile to his final years in Toledo, where he produced his last great work, the marble tomb of Cardinal Juan de Tavera. Enriching the chronological narrative are discussions of important aspects of Berruguete’s life and practice: his complicated relationship with social status and wealth; his activity as a draftsman and use of prints; how he worked with his many assistants to create his wood sculptures; and his legacy as an artist.Published in association with the National Gallery of Art, WashingtonExhibition Schedule:National Gallery of Art, Washington (October 13, 2019–February 17, 2020)Meadows Museum, SMU, Dallas (March 29–July 26, 2020)

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This new volume tells the story of some of the paintings rescued by the the Monuments, Fine Arts and Archives (MFAA) organization, the so-called "Monuments Men." In December 1945, 202 paintings, found in German salt mines 2,100 feet underground, where they had been hidden to escape the allied bombing of Berlin, were brought to the United States "for safe keeping" by the Department of the Army. They were exhibited in 1948 at the National Gallery of Art, Washington DC, before some of them were sent on a whistle-stop tour of 13 US cities, despite furious opposition from museum directors, Gallery staff, the public, government officials, and a resolution from 98 leading art authorities demanding the immediate return of the works to Germany. All the paintings, examples of Flemish, Dutch, German, French, English, and Italian Schools, were from museums in Berlin, and had been found in April 1945, along with 100 tons of Reichsbank gold, by the special team of art historians and experts, seconded in the US army, and charged with locating and restituting works of art looted by the Nazis. This book is the first to consider the paintings themselves; it features 22 artworks that were in the original NGA exhibition, including four paintings on loan from Berlin, augmented by others from Cincinnati Art Museum, National Gallery of Art, Washington, The Getty Museum, Miami University (Oxford, OH), and the Taft Museum.

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An important reconsideration of landscape photography in 19th-century America, exploring crucial but neglected geographies, practitioners, and themes Although pictures of the West have dominated our perception of 19th-century American landscape photography, many photographers were working in the eastern half of the United States during that period. Their pictures, with the exception of Civil War images, have received relatively scant attention. Redressing this imbalance is East of the Mississippi, the first book to focus exclusively on the arresting eastern photographs that helped shape America’s national identity. Celebrating natural wonders such as Niagara Falls and the White Mountains as well as capturing a cultural landscape fundamentally altered by industrialization, these works also documented the impact of war, promoted tourism, and played a role in an emerging environmentalism. Showcasing more than 180 photographs from 1839 to 1900 in a rich variety of media and formats—from daguerreotypes, salted paper prints, tintypes, cyanotypes, and albumen prints to stereo cards and photograph albums—this volume traces the evolution of eastern landscape photography and introduces the artists who explored this subject. Also considered are the dynamic ties with other media—for instance, between painters and photographers such as the Bierstadt and Moran brothers—and the distinctive development of landscape photography in America.Published in association with the National Gallery of Art, Washington, D.C.Exhibition Schedule:National Gallery of Art, Washington, D.C. (03/12/17–07/16/17)New Orleans Museum of Art (10/05/17–01/07/18)

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A sweeping exploration of animals in Japanese art and culture across sixteen centuriesFew countries have devoted as much artistic energy to the depiction of animal life as Japan. Drawing upon the country’s unique spiritual heritage, rich literary traditions, and currents in popular culture, Japanese artists have long expressed admiration for animals in sculpture, painting, lacquerwork, ceramics, metalwork, textiles, and woodblock prints. Real and fantastic creatures are meticulously and beautifully rendered, often with humor and whimsy. This beautiful book celebrates this diverse range of work, from ancient fifth-century clay sculpture to contemporary pieces.The catalog is organized into themes, including the twelve animals of the Japanese zodiac; animals in Shinto and Buddhism; animals and samurai; land animals, winged creatures, and creatures of the river and sea; and animals in works of humor and parody.Contributors address such issues as how animals are represented in Japanese folklore, myth, religion, poetry, literature, and drama; the practice of Japanese painting; and the relationship between Japanese painters and scientific study.Featuring some 300 masterpieces from public and private collections, many published for the first time, The Life of Animals in Japanese Art is a sumptuous celebration of the connections between the natural world and visual and creative expression.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleNational Gallery of Art, Washington, DCJune 2-August 18, 2019Los Angeles County Museum of ArtSeptember 22-December 8, 2019

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A new appraisal of intriguing and meditative figural works by one of the 19th century’s great masters of landscape The women painted by Camille Corot (1796–1875) read, dream, and gaze at the viewer, conveying an independent spirit and a sense of their inner lives. Corot’s handling of color and his deft, delicate touch applied to the female form resulted in pictures of quiet majesty. Although these figural paintings constitute a relatively small and little-known portion of his oeuvre, they were of great importance for the founders of modernist painting, such as Paul Cézanne, Pablo Picasso, and Georges Braque. This publication encompasses some forty paintings by Corot—from the single-figure bust and full-length images of the 1840s through the 1860s nudes and his allegorical series devoted to the model in the studio. Essays by leading experts in the field address Corot’s debt to the old masters and the impact of his pictures on both 19th- and 20th-century painting, the relationship of his figural work to his more famous landscape practice, his response to the shifting social position of artists’ models, and the incursion of photography into artistic practice in the Second Empire and early Third Republic. Published in association with the National Gallery of Art, WashingtonExhibition Schedule:National Gallery of Art, Washington (09/09/18–12/30/18)

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For the first time, explore John Singer Sargent’s fascination with Spain as seen in stunning landscapes, architectural views, figure studies, and scenes of everyday life American artist John Singer Sargent (1856–1925) experienced Spain, including the picturesque island of Majorca, as a source of rejuvenation and inspiration. Sargent and Spain features scores of the artist’s dazzling watercolors, oil paintings, and drawings, from landscapes and seascapes to architectural studies, scenes of everyday life, and sympathetic portraits of the Roma and other local people he encountered. Immersing himself in the country’s rich culture, he studied Spanish masters old and new, lavishing particular attention on works by Diego Velázquez in the Prado. He rendered the distinctive architecture of the Alhambra as well as other palaces and churches, and he captured lively scenes of ports and villages. Intrigued by Spanish dance and music, Sargent created dynamic views of flamenco and the famous dancer La Carmencita. A map and an illustrated chronology document the artist’s seven trips to and travels through Spain. This handsome book showcases, for the first time, Sargent’s captivation with Spain and the remarkable works of art now associated with it. Published in association with the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington (October 2, 2022–January 2, 2023) Fine Arts Museums of San Francisco, Legion of Honor (February 11–May 14, 2023)

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A fascinating look at the partnership of artist James McNeill Whistler and his chief model, Joanna Hiffernan, and the iconic works of art resulting from their life together“[A] lavish volume. . . . Illuminating. . . . MacDonald’s deep research has . . . unearthed important new facts.”—Gioia Diliberto, Wall Street Journal In 1860 James McNeill Whistler (1834–1903) and Joanna Hiffernan (1839–1886) met and began a significant professional and personal relationship. Hiffernan posed as a model for many of Whistler’s works, including his controversial Symphony in White paintings, a trilogy that fascinated and challenged viewers with its complex associations with sex and morality, class and fashion, academic and realist art, Victorian popular fiction, aestheticism and spiritualism. This luxuriously illustrated volume provides the first comprehensive account of Hiffernan’s partnership with Whistler throughout the 1860s and 1870s—a period when Whistler was forging a reputation as one of the most innovative and influential artists of his generation. A series of essays discusses how Hiffernan and Whistler overturned artistic conventions and sheds light on their interactions with contemporaries, including Gustave Courbet, for whom she also modeled. Packed with new insights into the creation, marketing, and cultural context of Whistler’s iconic works, this study also traces their resonance for his fellow artists, including Dante Gabriel Rossetti, Edgar Degas, John Singer Sargent, and Gustav Klimt. Published in association with the National Gallery of Art, WashingtonExhibition Schedule:Royal Academy of Arts, London (February 23–May 23, 2022)National Gallery of Art, Washington (July 3–October 10, 2022)

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A groundbreaking examination of the “double” in modern and contemporary artFrom ancient mythology to contemporary cinema, the motif of the double—which repeats, duplicates, mirrors, inverts, splits, and reenacts—has captured our imaginations, both attracting and repelling us. The Double examines this essential concept through the lens of art, from modernism to contemporary practice—from the paired paintings of Henri Matisse and Arshile Gorky, to the double line works of Piet Mondrian and Marlow Moss, to Eva Hesse’s One More Than One, Lorna Simpson’s Two Necklines, Roni Horn’s Pair Objects, and Rashid Johnson’s The New Negro Escapist Social and Athletic Club (Emmett). James Meyer’s survey text explores four modes of doubling: Seeing Double through repetition; Reversal, the inversion or mirroring of an image or form; Dilemma, the staging of an absurd or impossible choice; and the Divided and Doubled Self (split and shadowed selves, personae, fraternal doubles, and pairs). Thought-provoking essays by leading scholars Julia Bryan-Wilson, Tom Gunning, W.J.T. Mitchell, Hillel Schwartz, Shawn Michelle Smith, and Andrew Solomon discuss a host of topics, including the ontology and ethics of the double, the double and psychoanalysis, double consciousness, the doppelgänger in silent cinema, and the queer double.Richly illustrated throughout, The Double is a multifaceted exploration of an enduring theme in art, from painting and sculpture to photography, film, video, and performance.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleNational Gallery of Art, Washington, DCJuly 10–October 31, 2022

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A groundbreaking survey of contemporary Indigenous art and its enduring connections to the landThe Land Carries Our Ancestors: Contemporary Art by Native Americans brings together works by many of today’s most boldly innovative Native American artists. Jaune Quick-to-See Smith, one of the leading artists and curators of her generation, has carefully chosen some fifty works across a diversity of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—that share the common thread of the land.This beautifully illustrated book features both well-known and emerging artists, from G. Peter Jemison (Seneca Nation of Indians, Heron Clan) and Kay WalkingStick (Cherokee Nation of Oklahoma/European descent) to Eric-Paul Riege (Diné) and Rose B. Simpson (Pueblo of Santa Clara, New Mexico). Smith brings her personal perspective to the Native American experience and Indigenous connections to the land. In her essay, heather ahtone examines the history and practices of landscape art, shedding light on how it is both a tool for self-expression and a means to understanding the natural world. Celebrated poet and memoirist Joy Harjo pays homage to the land in her poem “Once the World Was Perfect.” Shana Bushyhead Condill discusses the themes and practices that distinguish these artworks.The Land Carries Our Ancestors: Contemporary Art by Native Americans shares new perspectives on these visionary and provocative artists while offering a timely celebration of contemporary Indigenous art.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleNational Gallery of Art, Washington, DCSeptember 22, 2023–January 15, 2024New Britain Museum of American Art, New Britain, ConnecticutApril 18–September 15, 2024

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Writing from New York in March 1949, Robert Frank sent home to his mother in Switzerland a birthday gift of a book maquette of a series of photographs he had made during a visit to Peru. Frank made an identical book for himself and one of each of these two dummies now resides in the collections of the Museum of Modern Art, New York, and National Gallery of Art, Washington. A few of these images are well-known in Frank’s oeuvre but previously the entire series had only ever been seen by a small number of people. This book presents for the first time the complete sequence of images, based on the original book Frank had conceived and realised under his direction. Peru is a work of major historical significance in both the artist’s history and the history of photography.

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A 15th-anniversary edition of Jonas’ landmark monograph documenting her performance response to Aby Warburg Reissued for the 15th anniversary of this volume and during Joan Jonas’ (born 1936) first major US museum show in 15 years, this catalog documents the deep, immersive performance The Shape, the Scent, the Feel of Things, originally commissioned by Dia Art Foundation and responding to German art historian Aby Warburg's essay on his visit to the American Southwest. The book includes a statement from the artist, scene-by-scene descriptions with photos, a conversation between Joan Jonas and Jason Moran (who composed music for the performance) and an essay by Lynne Cooke, a senior curator at the National Gallery of Art, Washington, DC, and former curator at Dia. With a new reflection from the artist looking back on this groundbreaking performance, the anniversary edition is a tangible manifestation of the ongoing significance of Jonas' work.

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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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A technical examination of artists’ workshops and studios across history and media, told through the collections of the National Gallery of Art Volume 6 of the National Gallery of Art’s biennial conservation research journal Facture explores the themes of workshops and studios in different cultural contexts and various media. Topics examined include serialization in the Della Robbia workshop, the creative practice of early twentieth-century French bronze founders, the restoration histories of French marbles from the seventeenth and eighteenth centuries, the complex interplay between an artist’s technique and the strict competition guidelines of the Prix de Rome, the production of a manuscript by Joris Hoefnagel, and the collaborative nature of an early draft of Freydal ordered by the Holy Roman Emperor Maximilian I. The six peer-reviewed essays, richly illustrated with detailed photography, generate valuable insights for conservators, art historians, and scientific researchers. Distributed for the National Gallery of Art, Washington

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Close technical examinations of the techniques and materials of Edward Steichen, Mark Rothko, Jules Olitski, Jasper Johns, and others are accompanied by essays that probe issues of conserving contemporary art Volume 5 of the National Gallery of Art’s biennial conservation research journal Facture explores issues associated with the conservation and technical analysis of modern and contemporary art. Focusing on works in a variety of media by celebrated artists such as Edward Steichen (1879–1973), Mark Rothko (1903–1970), Jules Olitski (1922–2007), and Jasper Johns (b. 1930), this publication’s seven essays offer expertise from conservators, scientists, and art historians, yielding exceptional insights into extraordinary works of art. As in all issues of Facture, the peer-reviewed essays, enlivened with spectacularly detailed photography, navigate interdisciplinary boundaries to examine artworks from technical, scientific, and art-historical perspectives. In this issue, the dialogue is further expanded to include contributions from artists, their families, and their foundations.Distributed for the National Gallery of Art, Washington

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A comprehensive survey of the work of this most influential Florentine artist and teacherAndrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio.This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists.Published in association with the National Gallery of Art, Washington, DC

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The fruits of sixteen years of discriminating acquisition on the international art market, Robert Smith's is one of the most important collections of European bronzes in private hands today. The collection embraces the Renaissance in Italy and northern Europe in such a way that its components complement and enhance the appreciation of each other. Central to the collection is a group of thirteen pieces that illustrate the legacy of Giambologna in Florence. Also assembled are pieces by independent contemporaries: Alessandro Vittoria and Francesco Segala in the Veneto, and the younger Genoese-born Niccolo Roccatagliata, whose surviving work is of the utmost rarity. A selection of fine early North Italian bronzes serves as an introduction to the collection; the Netherlands and France are also well represented. Many pieces have distinguished provenances, and all have been exhaustively researched. The book comprises not just a catalogue but an important and original contribution to scholarship in its own right. This new and extended version of the first edition retains the entries written by Anthony Radcliffe with a few additions or corrections, and an entry that he drafted on the miniature cannon signed by Orazio Antonio Alberghetti has also been incorporated. New entries have been supplied by Marietta Cambareri, currently Curator of Sculpture in the 'Arts of Europe' section of the Museum of Fine Arts, Boston, by Fabio Barry, Mellon intern for 2004 in the Department of Sculpture at the National Gallery of Art, Washington D.C., and by Nicholas Penny.

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A brilliant colorist and masterful storyteller, Dutch mannerist Joachim Wtewael (1566-1638) wielded a remarkably skilled brush and the technical ability to show it off in intricate compositions. He took inspiration from a wide range of biblical and mythological sources to create imaginative, often quite erotic scenes. While such pictures were prized in Wtewael's time, more recently they were hidden away--behind other paintings, in leather folders on bookshelves, and in the reserves of great museums. This richly illustrated volume brings together more than fifty of Wtewael's finest paintings and drawings, from a small jewel-like picture on copper depicting Mars and Venus to large-scale mannerist showpieces such as The Martyrdom of Saint Sebastian and Perseus and Andromeda. A pillar of the Utrecht community, Wtewael was engaged in business, religion, and politics as well as art. He adopted the exotic mannerist style, full of artifice and inventive manipulation, and continued to be fascinated by the challenge of creating sophisticated variations well into his maturity, when other Dutch artists had turned to naturalism. This book explores Wtewael's amazingly refined and detailed paintings and drawings, shedding light on his reputation, his life, and the conflicted times--marked by iconoclasm and strife--in which he thrived. Exhibition schedule: *Centraal Museum Utrecht, February 21-May 25, 2015*National Gallery of Art, Washington, June 28-October 4, 2015* Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, November 1, 2015-January 31, 2016

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How artists created an aesthetic of “positive barbarism” in a world devastated by World War II, the Holocaust, and the atomic bombIn Brutal Aesthetics, leading art historian Hal Foster explores how postwar artists and writers searched for a new foundation of culture after the massive devastation of World War II, the Holocaust, and the atomic bomb. Inspired by the notion that modernist art can teach us how to survive a civilization become barbaric, Foster examines the various ways that key figures from the early 1940s to the early 1960s sought to develop a “brutal aesthetics” adequate to the destruction around them.With a focus on the philosopher Georges Bataille, the painters Jean Dubuffet and Asger Jorn, and the sculptors Eduardo Paolozzi and Claes Oldenburg, Foster investigates a manifold move to strip art down, or to reveal it as already bare, in order to begin again. What does Bataille seek in the prehistoric cave paintings of Lascaux? How does Dubuffet imagine an art brut, an art unscathed by culture? Why does Jorn populate his paintings with “human animals”? What does Paolozzi see in his monstrous figures assembled from industrial debris? And why does Oldenburg remake everyday products from urban scrap?A study of artistic practices made desperate by a world in crisis, Brutal Aesthetics is an intriguing account of a difficult era in twentieth-century culture, one that has important implications for our own.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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A reevaluation of Gabriel Metsu, one of the leading genre painters of the Dutch Golden Age Gabriel Metsu (1629–1667) employed an unusual variety of styles, techniques, and subjects, making him a particularly difficult artist to characterize. From his early days in Leiden until his death in Amsterdam at the height of his career, his unparalleled mastery of the brush allowed him to paint a remarkable range of history paintings, portraits, still lifes, but most of all, exquisite genre paintings. And whatever his subject matter, his work reveals an unrivalled talent for imbuing figures with a human and personable character.During the 18th and 19th centuries, Metsu held a place as one of the most celebrated painters of the Dutch Golden Age, and his works were acquired for noble collections throughout Europe, while his contemporary Johannes Vermeer was almost unheard of. In the 20th century their positions were reversed as Vermeer’s reputation soared. This enlightening book resituates Metsu as one of the leading genre painters of his time. It offers a portrait of the age through his patrons and his wide network of contacts and colleagues in Amsterdam, as well as analysis of Metsu’s technique as a draftsman and as a painter, and it documents the fashions and fabrics of the time through his work.Published in association with the National Gallery of IrelandExhibition Schedule: National Gallery, Dublin 09/04/10 – 12/05/10 Rijksmuseum, Amsterdam 12/16/10 – 03/21/11 National Gallery of Art, Washington 04/17/11 – 07/24/11

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A revelatory exploration of Mark Rothko’s paintings on paper that transforms our understanding of a preeminent twentieth-century artist “[A] superb catalogue.”—Charles Giuliano, Berkshire Fine Arts Mark Rothko (1903–1970) is renowned for his towering abstract paintings on canvas; joy, despair, ecstasy, and tragedy are among the themes that he sought to express in his luminous works. Despite Rothko’s prominence, few people know that he also created more than 1,000 paintings on paper over the course of his career. The artist viewed these not as preliminary studies but as finished paintings in their own right. These remarkable paintings range from early figurative subjects and surrealist works to the soft-edged rectangular fields, often realized at monumental scale, for which Rothko is best known. These works challenge our expectations about how painting is defined, as well as popular ideas about Rothko and his career. In this beautifully illustrated volume, Adam Greenhalgh traces the role these works played in the artist’s reception, reputation, and success. This book accompanies the first major exhibition dedicated to Rothko’s works on paper in forty years and brings together nearly one hundred radiant, rarely displayed examples. Building on the important research conducted by Greenhalgh and his team for the catalogue raisonné of Rothko’s works on paper, this important catalogue offers a new appreciation of an underrecognized facet of the artist’s practice. Exhibition Schedule: National Gallery of Art, Washington (November 19, 2023–March 31, 2024) The National Museum of Art, Architecture, and Design, Oslo (May 16–September 22, 2024)

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Jacopo Tintoretto (1518/19-1594) was among the most distinctive artists of the Italian Renaissance. Yet, although his bold paintings are immediately recognizable, his drawings remain unfamiliar even to many scholars. Drawing in Tintoretto’s Venice offers a complete overview of Tintoretto as a draftsman. It begins with a look at drawings by Tintoretto’s precedents and contemporaries, a discussion intended to illuminate Tintoretto’s sources as well as his originality, and also to explore the historiographical and critical questions that have framed all previous discussion of Tintoretto’s graphic work. Subsequent chapters explore Tintoretto’s evolution as a draftsman and the role that drawings played in his artistic practice—both preparatory drawings for his paintings and the many studies after sculptures by Michelangelo and others—thus examining the use of drawings within the studio as well as teaching practices in the workshop. Later chapters focus on the changes to Tintoretto’s style as he undertook ever larger commissions and accordingly began to manage a growing number of assistants, with special attention paid to Domenico Tintoretto, Palma Giovane, and other artists whose drawing style was infl uenced by their time working with the master. The book is published in conjunction with the exhibition Drawing in Tintoretto’s Venice, opening at the Morgan Library& Museum, New York, in 2018 and travelling to the National Gallery of Art, Washington, in early 2019. All of the drawings in the exhibition are discussed and illustrated, and a checklist of the exhibition is also included in the volume, but the book is a far more widely ranging account of Tintoretto’s drawings and a comprehensive account of his work as a draftsman.

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In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us. Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Bruegel began his career imitating Bosch's fantasies, and it was Bosch who launched almost the whole repertoire of later genre painting. But Bosch depicts everyday life in order to reveal it as an alluring trap set by a metaphysical enemy at war with God, whereas Bruegel shows this enemy to be nothing but a humanly fabricated mask. Attending closely to the visual cunning of these two towering masters, Koerner uncovers art history's unexplored underside: the image itself as an enemy. An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through the agency of art. It takes readers through all the major paintings, drawings, and prints of these two unforgettable artists--including Bosch's notoriously elusive Garden of Earthly Delights, which forms the core of this historical tour de force. Elegantly written and abundantly illustrated, the book is based on Koerner's A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington.

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The legendary splendor of Genoese baroque artGenoa completed its transformation from a faded maritime power into a thriving banking center for Europe in the seventeenth century. The wealth accumulated by its leading families spurred investment in the visual arts on an enormous scale. This volume explores how artists both foreign and native created a singularly rich and extravagant expression of the baroque in works of extraordinary variety, sumptuousness, and exuberance. This art, however, has remained largely hidden behind the facades of the city's palaces, with few works, apart from those by the school's great expatriates, found beyond its borders. As a result, the Genoese baroque has been insufficiently considered or appreciated.Lavishly illustrated, A Superb Baroque is comprehensive, encompassing all the major media and participants. Presented are some 140 select works by the celebrated foreigners drawn to the city and its flourishing environment—from Peter Paul Rubens, Anthony van Dyck, and Giulio Cesare Procaccini to Pierre Puget, Marcantonio Franceschini, and Francesco Solimena; by the major Genoese masters active for much of their careers in other settings—Bernardo Strozzi, Giovanni Benedetto Castiglione, Filippo Parodi, and Alessandro Magnasco; and above all by the brilliantly synthetic but unfamiliar masters who worked primarily in Genoa itself—Gioacchino Assereto, Valerio Castello, Domenico Piola, and Gregorio De Ferrari. Offering three levels of exploration—essays that frame and interpret, section introductions that characterize principal currents and stages, and texts that elucidate individual works—this volume is by far the most extensive study of the Genoese baroque in the English language.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleScuderie del Quirinale, RomeMarch 4–June 19, 2022

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A vivid historical imagining of life in the early United States“One of the richest books ever to come my way.”—Annie Proulx, Pulitzer Prize–winning author of The Shipping News“This is a wonderful book. . . . An extraordinary achievement.”—Edmund de Waal, New York Times bestselling author of The Hare with Amber EyesSet amid the glimmering lakes and disappearing forests of the early United States, The Forest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuring both real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisans living and working in a world still made largely of wood. Some of the historical characters—such as Thomas Cole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner—are well-known, while others are not. But all are creators of private and grand designs.The Forest unfolds in brief stories. Each episode reveals an intricate lost world. Characters cross paths or go their own ways, each striving for something different but together forming a pattern of life. For Alexander Nemerov, the forest is a description of American society, the dense and discontinuous woods of nation, the foliating thoughts of different people, each with their separate shade and sun. Through vivid descriptions of the people, sights, smells, and sounds of Jacksonian America, illustrated with paintings, prints, and photographs, The Forest brings American history to life on a human scale.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art historyThroughout Chinese history, dynastic time—the organization of history through the lens of successive dynasties—has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history.Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history.Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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The first book to put the sacred and sensuous bronze statues from India’s Chola dynasty in social contextFrom the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures—including Shiva, referred to in a saintly vision as “the thief who stole my heart”—were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes.Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire’s political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls.From the Cholas’ religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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Pierre Rosenberg, the distinguished art historian and director of the Musee du Louvre, has long admired and studied both paintings and drawings. This dual interest may seem commonplace but is in fact highly unusual: specialists in the field of drawing rarely write about painting, and vice versa. From Drawing to Painting offers a unique perspective by interweaving biographical information about five renowned French artists--Nicolas Poussin, Antoine Watteau, Jean-Honore Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres--with a fascinating look at dozens of their drawings and the links that they have to their paintings. Presenting over 260 illustrations, this book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas. How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques. Originally delivered as a series of Mellon Lectures at the National Gallery of Art, Washington, D.C., From Drawing to Painting gives the reader an unprecedented view of the artistic process. This richly illustrated book will make an important and beautiful addition to any art library.

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How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century EuropeAs the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old.Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.Beautifully illustrated, Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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Perfect for planning and enjoying a stress-free family holiday, this easy-to-use guide book is packed with insider tips and information on the best family-friendly activities and attractions.Take a tour of the White House, admire the monuments and memorials of the National Mall or visit the National Air and Space Museum. From recommendations of child-friendly restaurants to suggestions for rainy-day activities, this guide book takes the work out of planning a family trip to Washington, DC.Inside Family Guide Washington, DC:- Each major listing includes details of the closest toilets, the nearest places to grab a snack or meal, what do if it rains, and where kids can play and let off steam- Contains cartoons, quizzes and games to keep young travellers happy all day long- Detailed coloured maps of all the major attractions and areas help you navigate with ease- Colour-coded area guides make it easy to find information - At-a-glance pages highlight all the best sights and activities in each area so you can plan your day quickly- Features expert suggestions for the best places for families to stay, eat and shop - Gives essential travel information, including transport, visa and health information- Covers National Air and Space Museum, National Gallery of Art, Washington Monument, World War II Memorial, Lincoln Memorial, Franklin Delano Roosevelt Memorial, Thomas Jefferson Memorial, United States Capitol, the White House, Smithsonian American Art Museum and National Portrait Gallery, Georgetown, George Washington's Mount Vernon Estate, Jamestown, Busch GardensTM and moreLooking for a comprehensive guide to Washington? Try our DK Eyewitness Travel Guide Washington, DC. On a shorter trip and want to see the highlights? Try our Top 10 Washington, DC travel guide.

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This lavish catalogue presents sketches made en plein air between the end of the eighteenth century and late nineteenth century. It accompanies a major exhibition at the National Gallery of Art, Washington (USA), the Fondation Custodia (France) and the Fitzwilliam Museum, Cambridge (UK).In the eighteenth century the tradition of open-air painting was based in Italy, Rome in particular. Artists came from all over Europe to study classical sculpture and architecture, as well as masterpieces of Renaissance and Baroque art. During their studies, groups of young painters visited the Italian countryside, training their eyes and their hands to transcribe the effects of light on a range of natural features. The practice became an essential aspect of art education, and spread throughout Europe in the nineteenth century. This exhibition focuses on the artists’ wish to convey the immediacy of nature observed at first hand.Around a hundred works, most of them unfamiliar to the general public, will be displayed. The artists represented include Thomas Jones, John Constable, J.M.W. Turner, Pierre-Henri de Valenciennes, Achille-Etna Michallon, Camille Corot, Christoffer Wilhelm Eckersberg, Johan Thomas Lundbye, Vilhelm Kyhn, Carl Blechen, Johann Martin von Rohden, Johann Wilhelm Schirmer, Johann Jakob Frey, among others. The sketches demonstrate the skill and ingenuity with which each artist quickly translated these first-hand observations of atmospheric and topographical effects while the impression was still fresh.The exhibition and the catalogue will be organized thematically, reviewing, as contemporary artists did, motifs such as trees, rocks, water, volcanoes, and sky effects, and favourite topgraphical locations, such as Rome and Capri. The catalogue will present numerous unpublished plein air sketches, and contains original scholarship on this relatively young field of art history.

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From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 yearsWhat does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book—against a background of today’s “sculpture wars”—Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars,” from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns.Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority.From Beard’s reconstruction of Titian’s extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII’s famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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This beautifully illustrated and exquisitely designed volume of paintings, sculpture, medals, and drawings celebrates the extraordinary flowering of female portraiture, mainly in Florence, beginning in the latter half of the fifteenth century. Included are many of the finest portraits of women (and a few of men) by Filippo Lippi, Domenico Ghirlandaio, Antonio Pollaiuolo, Botticelli, Verrocchio, and Leonardo da Vinci--whose remarkable double-sided portrait of Ginevra de' Benci, which departs notably from tradition, is the focus of special attention. It was in Florence during this period that portraiture expanded beyond the realm of rulers and their consorts to encompass women of the merchant class. This phenomenon, long known to scholars, is here presented to a larger audience for the first time. The catalogue, which accompanies an exhibition at the National Gallery of Art, traces how the humanist praise of women influenced and enlivened their depiction. It also considers how meaningful costumes and settings were chosen. Works from outside Florence by such masters as Pisanello, Rogier van der Weyden, and Ercole Roberti shed additional light on the evolution of female portraiture during the century from c. 1440 to c. 1540. An introduction by editor and exhibition organizer David Alan Brown and four engaging essays by other experts on Renaissance art--Dale Kent, Joanna Woods-Marsden, Mary Westerman Bulgarella and Roberta Orsi Landini, and Victoria Kirkham--perfectly complement the more than one hundred illustrations, which include ninety-seven full-color plates. The catalogue entries are concise while revealing the key aspects of each portrait--from style and sources to ongoing scholarly debates. This elegant, enlightening book is itself a telling portrait not only of the art but also of the broader issues of women's freedom, responsibility, and individuality in a most exceptional era. EXHIBITION SCHEDULE National Gallery of Art, Washington, D.C. September 30, 2001-January 6, 2002

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From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 yearsWhat does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book—against a background of today’s “sculpture wars”—Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars,” from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns.Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority.From Beard’s reconstruction of Titian’s extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII’s famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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Jennifer Montagu is a world-renowned art historian whose name has become synonymous with the study of Italian Baroque sculpture. In honor of Jennifer Montagu’s immeasurable contribution to the field of Italian Baroque sculpture, sixty-two of the foremost scholars of European sculpture have been invited to participate in a symposium in her honor on 6 - 7 September 2013 at the Wallace Collection, London. Thirty of the papers presented there were selected for the publication as a tribute to this generous colleague and friend who has inspired and mentored dozens of younger historians in European art. Dr. Montagu’s academic work began in Political Science at Oxford, but conversations with Ernst Gombrich led her to pursue an advanced degree in art history instead. In 1963, long before the study of Italian bronze statuettes reached the level of interest that it enjoys today, her classic survey, simply titled Bronzes, was met with great enthusiasm, eventually being printed in five languages. Montagu taught at the University of Reading until 1964, when she became an assistant curator of the Photographic Collection at the Warburg Institute. In 1971 she became a full curator of the collection, a position she held until 1991. During these years she published at an indefatigable rate, and following her retirement from that post, her productivity only increased. Montagu was a Slade Professor of Fine Art at Cambridge University, a Mellon Professor at the Center for Advanced Study in the Visual Arts (National Gallery of Art,Washington, D.C.), and a visiting professor at the Collège de France. Montagu’s numerous publications include her monumental study of Alessandro Algardi (Yale University Press, 1985), Roman Baroque Sculpture: the Industry of Art (Yale, 1989) and Gold, Silver and Bronze: Metal Sculpture of the Italian Baroque (Mellon Lectures, CASVA; Yale University Press, 1996). She was appointed LVO (Royal Victorian Order) in 2006 for services to the Royal Collection and CBE (Commander of the Most Excellent Order of the British Empire) in 2012 for her contribution to the history of art.

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As an artist, Edgar Degas (1834-1917) defies easy description. Allied with the French impressionists through his commitment to portraying modern life, he also took an independent course, preferring line over color and the visible brushstroke, and working in a studio instead of out-of-doors. He is perhaps best known as a painter, but his most widely known work is a sculpture, Little Dancer Aged Fourteen. Executed in wax, near life-sized, dressed in a ballerina's tutu, with real ballet slippers and real hair, the sculpture caused a sensation when it was exhibited in 1881. It is the only sculpture Degas ever showed publicly, though more than one hundred--of dancers, horses, and bathers--were found in his studio after he died, all dusty, some fallen apart. For almost forty years after his death, these works were known only through the bronzes his heirs had cast from the originals.Then, in 1955, the waxes themselves appeared on the art market. Thanks to the discernment and generosity of Paul Mellon, the majority are now preserved at the National Gallery of Art, Washington, most on permanent display. This groundbreaking volume honors this extraordinary gift by linking art and science. It brings together the insights of a distinguished art historian of nineteenth-century painting and sculpture and the specialized knowledge of National Gallery conservators and scientists who have published pioneering technical studies. Including essays on Degas' life and work, his sculptural technique and materials, and the story of the sculptures after his death, it features art-historical and technical discussions of every work in the collection as well as indispensable concordances and bibliography. The richly illustrated text is intended for both art lover and specialist. Was Degas the sculptor technically inept or unusually inventive? How do we understand his sculpture in light of his paintings, prints, and photographs? These questions and many others are explored with originality and depth, adding immeasurably to our understanding of the artistic avant-garde in the late nineteenth century and to our appreciation of this controversial artist.

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PUBLISHED TO ACCOMPANY THE ONCE-IN-A-LIFETIME EXHIBITION AT THE RIJKSMUSEUM, AMSTERDAM, THIS IS THE FIRST MAJOR STUDY ON VERMEER'S LIFE AND WORK FOR MANY YEARS. ---------- 'Proust was once so excited to see a Vermeer show that he collapsed … I got chest pains merely leafing through the catalogue' Jonathan Jones, Guardian 'Invest in the fat catalogue, stuffed with scholarly discoveries and photographic closeups, and you will learn about everything from Vermeer’s optical mastery to his moral symbolism' Rachel Campbell-Johnston, The Times 'Excellent' Artists & Illustrators 'Getting a ticket for the once-in-a-lifetime Vermeer exhibition, above, at the Rijksmuseum in Amsterdam this year might frankly be a bit of a challenge, but you can at least console yourself with the exhibition catalogue, published by Thames & Hudson, which is a gorgeous thing. Nothing matches seeing a painting in the flesh, but this comes mightily close.' The Herald ---------- Vermeer's intensely quiet and enigmatic paintings invite the viewer into a private world, often prompting more questions than answers. Who is being portrayed? Are his subjects real or imagined? And how did he create such an unrivalled sense of intimacy? Bringing together diverse strands of the Dutch master's professional and private worlds, this is the first major authoritative study of Vermeer's life and work for many years, throwing light on all thirty-seven of his paintings. The book was designed by Irma Boom, the ‘Queen of Books’, and printed on an uncoated ‘Munken Print White’ paper, specially commissioned to ensure the veracity of colours. Irma Boom says: ‘the matte paper brings you closer to Vermeer; there is no gloss or glare in between, just like with the real works.’ With a wide selection of contextual illustrations, commentaries and up-to-date research by distinguished international Vermeer scholars, this is the definitive volume on the most admired of all seventeenth-century Dutch masters. With contributions by Bart Cornelis, National Gallery, London Bente Frissen, Rijksmuseum, Amsterdam Sabine Pénot, Kunsthistorisches Museum, Vienna Pieter Roelofs, Rijksmuseum, Amsterdam Friederike Schuett, Staedel Museum, Frankfurt am Main Christian Tico Seifert, National Galleries of Scotland, Edinburgh Ariane van Suchtelen, Mauritshuis, The Hague Gregor J.M. Weber, Rijksmuseum, Amsterdam Marjorie E. Wieseman, National Gallery of Art, Washington

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