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.-- "Library Journal"
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.
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.
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.