The lively and intriguing tale of the competition between two artists, culminating in the construction of the Duomo in Florence, this is also the story of a city on the verge of greatness, and the dawn of the Renaissance, when everything artistic would change.
Florence's Duomo: the dome of the Santa Maria del Diore cathedral 埩s one of the most enduring symbols of the Italian Renaissance, an equal in influence and fame to Leonardo and Michaelangelo's works. It was designed by Filippo Brunelleschi, the temperamental architect who rediscovered the techniques of mathematical perspective. He was the dome's ⨮ventor,⟷hose secret methods for building remain a mystery as compelling to architects as Fermat's Last Theorem once was to mathematicians. Yet Brunelleschi didn't direct the construction of the dome alone. He was forced to share the commission with his archrival, the sculptor Lorenzo Ghiberti, whose ⏡radise Doors⟡re also masterworks. This is the story of these two men, a tale of artistic genius and individual triumph.
--The Times (London) "Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after all." Few artists' letters are as self-revelatory as Vincent Van Gogh's, and the selection included here, spanning the whole of his artistic career, sheds light on every facet of the life and work of this complex and tortured man. Engaging candidly and movingly with his religious struggles, his ill-fated search for love, his intense relationship with his brother Theo and his attacks of mental illness, the letters contradict the popular image of Van Gogh as an anti-social madman and a martyr to art, showing instead that he was capable of great emotional and spiritual depths. Above all, they stand as an intense personal narrative of artistic development and a unique account of the process of creation.
The letters are linked by explanatory biographical passages, revealing Van Gogh's inner journey as well as the outer facts of his life. This edition includes the drawings that originally illustrated the letters. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
The life of Cellini is a romping good story which at present exists only in the form of a memoir, read by students and specialists. Derek Parker retells Cellini's life, setting it in the context of the turbulent world of Renaissance Europe. Cellini, famous as sculptor and goldsmith, and patronized by both Francis I of France and the Medici courts of Tuscany, was one of the most picturesque figures of the Renaissance. His adventures, hot temper and tendency to fight, his escapes from prison and amorous escapades among the Florentine and Roman nobility, and his interest in magic, made him a figure of renown in his own time, and beyond.
This is the first of four books in the Open University series Art of the Twentieth Century. The opening chapter discusses key concepts such as modernity, modernism, autonomy, spectatorship and globalisation. It is followed by four case studies, each of which is devoted to a specific work of art chosen from across the span of the century: Marcel Duchamp's Bottlerack, Barnett Newman's Eve, Ana Mendieta's Silueta series, and Yarla by the Australian Aboriginal Yuendumu community. These works have been selected not only for their intrinsic interest, but for the way in which they open up wider questions of meaning and interpretation that are central to understanding 20th-century art. issues and debates about art and its place in the wide culture today. Topics include the relation of the modernist mainstream to later postmodernist standpoints, the status of the art object, the development of a fully abstract art, the role of gender and identity in the expanding field of art and the globalisation of art practice.
A reappraisal of the position and work of women artists from the Middle Ages to the present. It examines the way in which women's work has been perceived in the history of Western art - often in direct reference to gender - and re-examines the works themselves.
Illuminated manuscripts are among the richest and most revealing relics of the pre-print Western world, and are central to our understanding of medieval social and cultural history. The British Library boasts the world's finest collection of medieval manuscripts, and in this new and lavishly illustrated survey, Janet Backhouse draws on these collections to provide a comprehensive introduction to these exciting and colourful materials.
The manuscripts featured include bestiaries, psalters, Bibles, books of hours, and medical and herbal collections that originated in workrooms as geographically diverse as the Anglo-Saxon kingdom of Northumbria and the Crusader kingdom of Jerusalem. There is also a great chronological diversity among the selected manuscripts, with examples ranging from the seventh century AD and the Lindisfarne Gospels to early Renaissance offerings.
Each of the almost 220 illluminations presented are accompanied by a caption and have been reproduced in colour. Many of the immages chosen have been reproduced here for the first time.
Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection--while comprehensive and authoritative--offers the reader some eclectic surprises as well.Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed. Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images. Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art. "In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."--Marcel Duchamp (1961) "Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."--Miriam Schapiro and Melissa Meyer (1978) "I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."--Shigeko Kubota (1976) "Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."--Maya Lin (1983) "Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."--Andres Serrano (1989)
The world's most well known works of art are both instantly familiar and profoundly mysterious. What has made these images so popular, and how did they come into existence? The Private Life of a Masterpiece answers these questions by delving into the secrets of iconic works of art dating from 1501 to 1950. Piecing together a trail of clues, it examines each work from conception through completion to afterlife, detailing how the commission came about, the preparation undertaken by the artist, the way the work was executed, how the finished work was received, and its influence on other artists. We learn, for example, that Leonardo devised a new form of perspective when painting the Mona Lisa, and that four centuries later Picasso was detained for stealing the portrait from the Louvre; that Goya painted The Third of May 1808 as a criticism of the monarchy but nonetheless offered it to the king as a gift; that Van Gogh's Sunflowers owes much to improvements in the postal system; that Munch's The Scream was influenced by the Incas; and that Jackson Pollock's paintings were promoted by the CIA. Along the way, we also learn about each artist's life, including the struggles with family, lovers, patrons, and critics.The works featured in this book met with a variety of reactions when first unveiled, and the author details them all, from admiration and respect to horror and contempt. Now readers can judge for themselves. Beautifully illustrated and lucidly written, The Private Life of a Masterpiece offers an innovative and compelling introduction to the extraordinary stories contained in the history of art. It will enthrall all those who wish to know more about this fascinating subject.
Traces the history of art in America, from the early works of Native Americans to the present day, and includes critical commentaries, anecdotes, profiles, and hundreds of illustrations