Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events. Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.
The second largest city in 17th-century Europe, Naples constituted a vital Mediterranean center in which the Spanish Habsburgs, the clergy, and Neapolitan aristocracy, together with the resident merchants, and other members of the growing professional classes jostled for space and prestige. Their competing programs of building and patronage created a booming art market and spurred painters such as Jusepe de Ribera, Massimo Stanzione, Salvator Rosa, and Luca Giordano as well as foreign artists such as Caravaggio, Domenichino, Artemisia Gentileschi, and Giovanni Lanfranco to extraordinary heights of achievement. This new reading of 17th-century Italian Baroque art explores the social, material, and economic history of painting, revealing how artists, agents, and the owners of artworks interacted to form a complex and mutually sustaining art world. Through such topics as artistic rivalry and anti-foreign labor agitation, art dealing and forgery, cultural diplomacy, and the rise of the independently arranged art exhibition, Christopher R. Marshall illuminates the rich interconnections between artistic practice and patronage, business considerations, and the spirit of entrepreneurialism in Baroque Italy.
Few, if any, early modern European cities boasted a population as racially, ethnically, and religiously diverse as Renaissance Venice, from German merchants living in the Fondaco dei Tedeschi to the Jewish inhabitants of the Ghetto. This fascinating book focuses on the wealthy elite of that immigrant population. From monumental palaces to pictorial cycles, Blake de Maria examines the artistic patronage commissioned by and associated with rich immigrant merchants who relocated to Venice with the aim of becoming Venetian cittadini, or citizens.
As newcomers to the city, immigrant merchant families had to acquire the material commodities necessary for everyday life, and the need to establish an appropriate spiritual identity proved equally pressing. De Maria investigates important aspects of the artistic, commercial, and familial activities of naturalized citizen families, and considers the communal functions of this merchant clan, their social identity as naturalized citizens, their contributions to the fabric of early modern Venice, and their complex relationship with Venice's native population. Rich in new material and full of human interest, the book sheds light on a significant, hitherto little-known sector in Venetian artistic patronage.
Palazzo Strozzi hosts an extraordinary exhibition dedicated to Florentine art of the latter 1500s, the last act of a trilogy dedicated to 16th-century art in Florence, which began with Bronzino in 2010 and Pontormo and Rosso Fiorentino in 2014. The Cinquecento in Florence, confronts the development of Florentine art in the second half of the century through paintings and sculptures by artists including Andrea del Sarto, Bronzino, Pontormo, Giorgio Vasari, Giambologna, Bartolomeo Ammannati and Santi di Tito. The exhibition, and this accompanying catalogue, also provides the opportunity to restore important works of art and to construct a wide network of collaboration between museums, cultural institutions and Florentine and Tuscan sites. The result is a celebration of an exceptional cultural epoch of intellectual inspiration marked by the Council of Trent during the Counter-Reformation, and by Francesco I de'Medici, one of the most brilliant representatives of courtly patronage in Europe.
Featuring some of Canada's foremost Baroque paintings, Illuminations studies the Baroque fascination with theatricality and visual spectacle in religious, mythological, and popular imagery. It explores how seventeenth-century audiences were confronted with pictures that frequently broke conventions by manipulating the sources and meaning of light while depicting all types of subjects.
Accompanies a travelling exhibition opening at the Art Gallery of Hamilton (Hamilton): February 28-May 31, 2015 and then moving to the Art Gallery of Alberta (Edmonton), June 26-October 12, 2015.
In a world where the remix culture is at the base of every great invention, King Kong, with their DIY philosophy did not literally invent anything, but in fact conceived something fresh, new and original by opening a window onto a whole new world of images, sensations and reconstructions. King Kong is a talented team, that despite being scattered around the world, chose to take on this extraordinary editorial project. By displaying the work of some of the most creative minds from around the globe, the book stunningly shows how different life paths and approaches merge together into a singular perspective of the streets. These artists are Giorgio Di Salvo, Camilla Donzella, Panda, Lele Saveri and Sha Ribiero and their project aims to exhibit personalities and to capture the emotion and clich s of a post-modern, post-political, and post-artistic first generation. This beautiful intersection of illustrations and photography is paired with an insightful introductory text by Federico Sarica. Exhibitions' organizer Jaguar Shoes Collective dedicated to "double K" an exhibition to celebrate their collection as "it represented a very real point of reference for that involuntary community of the Do It Yourself culture]."
Since the 1940s Gianni Mattioli's collection of modern art has been a touchstone of the history of twentieth-century collecting, both for the quality of its masterpieces and for its underlying program. Mattioli was guided by the double purpose of representing and re-establishing the major movements of modern Italian art and of presenting them coherently to the public.
This major new contribution to our knowledge of Italian modern art is the catalogue of twenty-six works in Mattioli's collection, dating from 1910 to 1921, which in 1997 were placed at the Peggy Guggenheim Collection, Venice. Each painting is studied in an essay that explores its origins and iconography, its relation to Italian and international pictorial sources, its position in contemporary aesthetic debate, and its critical history.