Started in 1958, the collection has grown considerably and now includes objects discovered through official excavations in Egypt and the Nile valley and Italy, along with gifts of former faculty members and friends of the University and Museum. From its beginning, the collection was intended to be diverse in scope and was founded to bring to Chapel Hill works of art that would directly support the teaching mission of the university. This volume showcases a significant and valuable collection as never before.
Though always controversial in art circles, the Pre-Raphaelites have also always been extremely popular with museum goers. This accessible new study provides the most comprehensive view of the movement to date. It shows us why, a century and a half later, Pre-Raphaelite art retains its power to fascinate, haunt, and often shock its viewers.
Calling themselves the Pre-Raphaelite Brotherhood, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt produced a statement of ideas that revolutionized art practice in Victorian England. Critical of the Royal Academy's formulaic works, these painters believed that painting had been misdirected since Raphael. They and the artists who joined with them, including William Michael Rossetti, James Collinson, and Frederick George Stephens, created bright works representing nature and literary themes in fresh detail and color. Considered heretical by many and frequently admonished for a lack of grace in composition the group disbanded after only a few years. Yet its artists and ideals remained influential; its works, greatly admired.
In this richly illustrated book, Elizabeth Prettejohn raises new and provocative questions about the group's social and artistic identity. Was it the first avant-garde movement in modern art? What role did women play in the Pre-Raphaelite fraternity? How did relationships between the artists and models affect the paintings? The author also analyzes technique, pinning down the distinctive characteristics of these painters and evaluating the degree to which a group style existed. And she considers how Pre-Raphaelite art responded to and commented on its time and place a world characterized by religious and political controversy, new scientific concern for precise observation, the emergence of psychology, and changing attitudes toward sexuality and women.
The first major publication on the Pre-Raphaelite movement in more than fifteen years, this exquisite volume incorporates the swell of recent research into a comprehensive, up-to-date survey. It comprises well over two hundred color reproductions, including works that are immediately recognizable as Pre-Raphaelite masterpieces, as well as lesser-known paintings that expand our appreciation of this significant artistic departure.
In Art, Liturgy, and Legend in Renaissance Toledo, Lynette Bosch examines liturgical manuscripts that members of the powerful Mendoza family commissioned for the cathedral of Toledo at a time when it was the symbolic center of the Spanish nation. Using patronage as a filter, Bosch relates the style, content, and function of these lavish manuscripts to the many-sided ritual life of the Cathedral and, beyond that, to its social and political role in efforts to forge Spanish identity in the midst of the Reconquista.
Bosch's study shows that the patrons of the Toledan manuscripts were active proponents both of the Catholic monarchy and of an extraordinary hybrid culture. Although medieval legend and history are laced through this "caballero culture," Bosch breaks new ground by also connecting it to the taste and outlook associated with the Renaissance. Art, Liturgy, and Legend in Renaissance Toledo includes a complete catalogue of the Toledan liturgical manuscripts.
From prehistory to postmodernism, the arts in Spain have occupied a central role in the development of Western art. In this wide-ranging and incisive overview, John F. Moffitt traces the history of painting, sculpture, the decorative arts and architecture. He investigates Iberian and Roman beginnings and examines the splendor of the Islamic and Christian foundations of Cordoba and the Escorial, before concentrating on the masterworks of El Greco, the Golden Age of Zurbaran and Velazquez, and the multi-faceted art of Goya. After discussing the brilliant innovations of Picasso, Dali and Miro, Professor Moffitt considers the most recent developments in Spanish art. Authoritative and ambitious in its chronological span, the book encompasses the enormous breadth of the Spanish artistic panorama, revealing that many of its most characteristic modern traits had their inception in earliest times.
Jan Burssens Marcel Broodthaers Henri-Victor Wolvens Fred Bervoets Pierre Vlerick Armand Vanderlick Jos Verdegem Roland Van den Berghe --This extensive resource highlights the role of post-war Belgian art movements in an international art framework --A well-rounded, academic discussion of more than 50 Belgian artists that would be of particular interest to contemporary art enthusiasts An in-depth examination of post-war Belgian art, these twin volumes cover a range of topics from The Rules of Art to Lyrical Abstraction, Assemblage Art, and Art as Social Criticism. Author Willem Elias's commentaries offer pointed analytical observations. Accompanied by 174 handsomely featured color plates, both catalogues will appeal to a cross section of readers interested in contemporary art with an eye to how Belgian art since 1945 corresponds to the international art scene. A comprehensive source to frequently refer to, Aspects of Belgian art after 1945 will undoubtedly be a valuable addition to both collectors and art historians alike.
This lavishly illustrated book examines Berlin in depth during a period of explosive growth between the two world wars. Between 1871 and 1919, the population of Berlin quadrupled,
and the city became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, directors, writers, and critics of the time. As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German
defeat in World War I, artists employed collage to challenge
traditional concepts of art. Berlin Dadaists reflected upon
the horrors of war, and the terrors of revolution and civil war.
Between 1924 and 1929 as the spirit of modernity took hold,
jazz, posters, magazines, advertisements, and cinema played
a central role in the development of Berlin's urban experience.
The concept of the "Neue Frau"--the modern, emancipated
woman-helped move the city in a new direction. Finally, Berlin
became a stage for political confrontation between the left
and the right and was deeply affected by the economic crisis
and mass unemployment at the end of the 1920s. This book
explores in numerous essays and illustrations the artistic,
cultural, and social upheavals in Berlin between 1918 and 1933,
and places them in a broader historical framework.
Over the past 50 years, East European artists have seen the virtual breakdown of their societies and their cultures. Instead of seeking to replace their devalued ideologies with new belief systems, many have profoundly challenged the very concept of belief systems. In this provocative exhibition catalogue, artists and essayists from Poland, Hungary, the Czech Republic, Romania, Bulgari and Slovakia confront Eastern Europe's cultural watershed head on. In addition to the excellent illustrations, the book includes a foldout timeline of noteworthy events since 1945, plus regional maps and a statistical profile of each country.
With forty major loans, including paintings, engravings, lithographs, watercolors, sculpture, and decorative arts, this new volume studies the way in which the visual arts in Europe perceived, or imagined, the black figure during the "long" nineteenth century (ca.1750-1914).