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.
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.
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.
- An in-depth look at the depiction of black people by Rembrandt and his contemporaries - Documents an exhibition at the Rembrandt House Museum in Amsterdam from March 6 - May 31, 2020 This exhibition catalogue tells the story of the black community in 17th century Dutch society and reveals how attitudes to race were expressed in the portrayal of black figures in Dutch art. Black people were present in 17th-century Holland, both in society and in art. This subject has long remained in the shadows, a situation this ground-breaking exhibition addresses. Rembrandt and many of his contemporaries made magnificent works of art that depict people of color. There was a small community of around 80 free black people of color living in the Jodenbreestraat neighborhood of Amsterdam during Rembrandt's lifetime. Painters during this period portrayed individual black models from life, and in a number of cases they formed the main subject of the art work. This book explores the conditions that gave rise to these remarkable works of art and the reasons the public image of black people changed from about 1660 onward. It tells the stories of the Dutch artists who aimed to capture their multi-racial world, and the impact of transatlantic slavery.
A showcase of the Cleveland Museum of Art's internationally important collection of British portrait miniatures, dating from the late sixteenth through the nineteenth centuries. Author Cory Korkow includes new research about the artists, sitters, and owners of these miniatures. Highlights include exquisite miniatures by Nicholas Hilliard, Isaac Oliver, Samuel Cooper, and Richard Cosway.
The construction principles of Celtic art were re-discovered in the middle of the 20th century by George Bain. Until his writing, the intricate knots, interlacings, and spirals used in illuminating The Book of Kells and in decorating craftwork and jewelry seemed almost impossible, "the work of angels." In this pioneering work, George Bain shows how simple principles, no more difficult than those used in needlecraft, were used to create some of the finest artistic works ever seen. He also explains how you can use these principles in re-creating artifacts and in creating your own Celtic designs for art and craft work or even for recreational use.
Step-by-step procedures carefully introduce the simple rules and methods of Celtic knot work and the well-known designs from the great manuscripts and stone work. Later chapters build up to complex knot work, spiral work, and key pattern designs, with special coverage of alphabets and the stylized use of animals, humans, and plants. Altogether over 225 different patterns are presented for your use, with hundreds of modification suggestions, 110 historical and modern artifacts showing designs in use, a great number of letters including six complete alphabets and 25 decorative initials, and a number of animal and human figures used in the original Celtic works.
Artists, students, craftspeople, even children can work with these patterns and instructions for creating dynamic designs for use in leather work, in embroidery and other needle work, in metalwork, jewelry making, card design, borders, panels, illuminations, and in countless other ways. Mathematicians will find a great deal of pleasure in the geometric principles on which the patterns are based. Art historians and others interested in studying Celtic art will find a great number of outstanding art works and the best presentation in English for understanding Celtic design.
The eighteenth-century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in England; and this inevitably involved a distinct approach to the depiction of the rural poor. John Barrell's influential 1980 study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the d cor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the literature of rural life and with the work of other painters. His terse and vigourous account has provided a landmark for social historians and literary critics, as well as historians of art.
This dictionary brings together in a concise form, data concerning some 3000 Japanese painters, printmakers, sculptors, potters, and lacquer artists from the earliest historical times to the 20th century.