"EARLY MEDIEVAL ART AND CIVILIZATION, GOTHIC ART AND CIVILIZATION, BYZANTINE ART AND CIVILIZATION. 3 vols, gold cloth with black titling and cover design, gilt edges, a few minor scuffs and scratches to slip case. A handsome set.
Although we live in an era when vast sums of money are lavished on wedding festivities, we are not unique: in Renaissance Italy, middle- and upper-class families spent enormous amounts on marriages that were intended to establish or consolidate the status and lineage of one or both of the respective families.
This lavishly illustrated book explores the social and economic background to marriage in Renaissance Florence and discusses the objects--paintings, sculptures, furniture, jewelry, clothing, and household items--associated with marriage and ongoing family life. By analyzing urban palaces and their furnishings, Jacqueline Marie Musacchio shows how families interacted with art on a daily basis. This began at marriage, when the bride brought a dowry and the groom provided the home and its furnishings. It continued with the accumulation of objects during the marriage and the birth of children. And it ended with the redistribution of these same objects at death. Through the examination of art, documents, literature, and more, this lively book traces the life cycle of the Florentine Renaissance family through the art and objects that surrounded them in their home.
This handsome and lavishly illustrated volume invites the reader to explore the exotic and distant world of Greek culture--not primarily the conventional literary idea of that culture but the range of experiences presented in its iconography. Between the sixth and fifth centuries B.C., Athenian artisans flooded the Mediterranean world with remarkable decorated vases depicting a large variety of images. Using the resources of social and religious anthropology, the authors exploit the richness of this material to re-create the intellectual and emotional milieu of the inhabitant of a Greek city-state.
Surprises multiply in this innovative work, translated into English for the first time. The Greeks incorporated the ambiguous and problematical aspects of human existence into their representational repertory, and many images are disconcerting in their brutality, their violence, and their strangeness. Paradoxically it is through pursuing this strangeness in its multiple contexts that we come the closest to ancient Greek civilization.
The book presents the great cultural themes of the time: the hunt, war, erotic love, and the festival. The earlier chapters lead to the discussion of the most disquieting figure in the Greek universe--Dionysus, god of sacred wine, magic masks, and animal metamorphoses. Many reproductions in the work are in private collections and have been rarely seen by the public.
AND SOCIETY IN INCIENT GREECE.
8vo, 343pgs + plates. Full bound in blue buckram with gilt stamped seal on front board and gilt titling on spine. Book contains 32 black and white plates, photographic reproductions of Archaic sculptures. Mild wear to extremities and bumped corner tips. Front free endpaper has note from previous owner in pen and very light toning to interior edges. Dust jacket has very little wear, though there is heavy foxing on spine and light foxing on front and rear covers.
This is an indispensable reference for museums, galleries, collectors, artists and academics, covering some 50 artists, with over 300 colour plates and many never-before-published works on American Tonalism.
Three-quarter bound in leather and marbled paper. Five raised bands on spine; also gilt titles in red title labels. All pages with red edge-stain. Moderate shelfwear and rubbing to boards overall. Leather has cracked down the front hinge (terminating about halfway down), but boards and block are holding.
Within a year of closing the last Impressionist exhibition in 1886, a large and disparate group of movements had appeared, each with its own beliefs about the nature and function of art. From Neo-Impressionism to Symbolism, from Gauguin and van Gogh to Matisse and Munch, the program of 20th-century art was emerging. These individual styles are now collectively referred to as Post-Impressionism. This book imposes coherence and a sense of pattern upon this diverse mix of movements and individuals that reacted against the style and subject matter of the Impressionists. The sociohistoric background against which Post-Impressionism evolved and the international reverberations of the movement are presented. Special emphasis is given to the revolution that Post-Impressionism created in Russia, which had effects far beyond the confines of art.
"*ART, 1880-1920. *GALE, IAIN. 1999, Folio, 424 pgs. includes slipcase in very good + condition.
Distributed in North America for Mercatorfonds.Charles the Bold (1433 1477) was ambitious, well educated, and tireless in his pursuit of power and recognition. At the close of the Middle Ages, in the fourth generation of his dynasty, he made the duchy of Burgundy into a significant European power. The house of Burgundy celebrated its rise by establishing a glittering court life, in which objects of exquisite taste were constantly sought after. The essays in Splendour of the Burgundian Court biographies of rulers, political history, and analyses of court art form a comprehensive portrait of the Burgundian court. Its splendid full-color illustrations vividly bring to life both the brilliance and the drama of the epoch.The dukes of Burgundy ruled over a conglomeration of territories, each with its own political and legal traditions. Because their dynasty was relatively new and flanked by the much more powerful French kingdom and German empire, Burgundian dukes invested in lavish public ceremonial displays to assert their status and reinforce the court's position as a center of power. The theater of Burgundian rule depended upon the display of ever more elaborate objects, from clothing and armor to furniture, tableware, tapestries, and paintings-many of which are of outstanding quality. Charles the Bold grew up on this ritualized stage, and his eventful life is reflected in the ceremonies and objects that conveyed his authority. Splendour of the Burgundian Court welcomes readers into that world."
The papers in this volume constitute a substantial body of work that provides a wide-ranging overview of current research on the technology and practice of Old Master paintings, covering some 700 years of European painting, from the thirteenth century to the early twentieth century, including works by Guido da Siena, Bellini, Michelangelo, Leonardo da Vinci, Fernando Gallego, Holbein, Caravaggio, El Greco, Rubens, Murillo, Gainsborough, Reynolds, Whistler, van Gogh and Munch. Six of the contributions focus on technological or historical aspects of specific artists' materials. These papers were presented at a conference held at the National Gallery to celebrate the 30th anniversary of the National Gallery Technical Bulletin. The Bulletin has a long history of publishing interdisciplinary research on the technical examination of paintings to inform both art-historical study and issues relating to the material history of a work. This type of research was the central focus of the conference and provided the overall thematic link between the contributions presented. Contains essays on the work of a wide range of artists, including Michelangelo, Leonardo da Vinci, Hans Holbein, Albrecht Altdofer, Caravaggio, Rubens, Thomas Gainsborough, Vincent Van Gogh, Edvard Munch, Christen Kobke, Bartolome Esteban Murillom and El Greco."