Illuminated manuscripts, a photograph of Walt Whitman, and even a lock of Nathaniel Hawthorne's hair: these are just a few of the treasures in the vast collection of books, letters and memorabilia that Isabella Stewart Gardner amassed.
Gift at the Gardner offers an eclectic array of books: from art history to poetry, beautifully bound literary classics and more, start your own literary collection with our featured titles today!
A timely and urgent exploration into the ways artists have grappled with race and grief in modern America, conceived by the great curator Okwui Enwezor
Featuring works by more than 30 artists and writings by leading scholars and art historians, this book — and its accompanying exhibition, both conceived by the late, legendary curator Okwui Enwezor — gives voice to artists addressing concepts of mourning, commemoration, and loss and considers their engagement with the social movements, from Civil Rights to Black Lives Matter, that black grief has galvanized.
Artists included: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark Bradford, Garrett Bradley, Melvin Edwards, LaToya Ruby Frazier, Charles Gaines, Theaster Gates, Ellen Gallagher, Arthur Jafa, Daniel LaRue Johnson, Rashid Johnson, Jennie C. Jones, Kahlil Joseph, Deana Lawson, Simone Leigh, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Tiona Nekkia McClodden, Okwui Okpokwasili, Adam Pendleton, Julia Phillips, Howardena Pindell, Cameron Rowland, Lorna Simpson, Sable Elyse Smith, Tyshawn Sorey, Diamond Stingily, Henry Taylor, Hank Willis Thomas, Kara Walker, Nari Ward, Carrie Mae Weems, and Jack Whitten.
Essays by Elizabeth Alexander, Naomi Beckwith, Judith Butler, Ta-Nehisi Coates, Massimiliano Gioni, Saidiya Hartman, Juliet Hooker, Glenn Ligon, Mark Nash, Claudia Rankine, and Christina Sharpe264 pages
This beautiful publication celebrates a unique collaboration between two of London’s greatest cultural institutions. Together The Royal Ballet and the National Gallery commissioned three acclaimed contemporary artists – Chris Ofili, Conrad Shawcross and Mark Wallinger – to work with international choreographers and composers to create three new ballets inspired by the Titian paintings Diana and Callisto, Diana and Actaeon and The Death of Actaeon. As well as designing all the sets and costumes, the artists also produced new works in response to Titian’s masterpieces for a show at the National Gallery.
The book tells the story of this extraordinary, complex project from conception to stage and gallery. The artists’ notebooks, sketches and other material from the studio are reproduced to show how they evolved their initial ideas into working designs. Numerous views of the dancers’ rehearsals, the creation of the sets and the gallery installations, as well as dozens of unseen photographs of the performances themselves, take the reader behind the scenes to see the many processes and people involved in transforming the artists’ vision into a finished production.
All three creative teams offer their own reflections on the project and on working with very different art forms. An introduction by National Gallery curator and originator of the project, Dr. Minna Moore Ede, explains how the collaboration came to fruition and unfolded. A foreword by Dame Monica Mason, outgoing director of The Royal Ballet, completes this stunning volume.Edited and with introduction by Minna Moore Ede. Foreword by Monica Mason.
Felon tells the story of the effects of incarceration in fierce, dazzling poems—canvassing a wide range of emotions and experiences through homelessness, underemployment, love, drug abuse, domestic violence, fatherhood, and grace—and, in doing so, creates a travelogue for an imagined life. Reginald Dwayne Betts confronts the funk of post-incarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person’s life.
The poems move between traditional and newfound forms with power and agility—from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume’s radiant conclusion. Drawing inspiration from lawsuits filed on behalf of the incarcerated, the redaction poems focus on the ways we exploit and erase the poor and imprisoned from public consciousness. Traditionally, redaction erases what is top secret; in Felon, Betts redacts what is superfluous, bringing into focus the profound failures of the criminal justice system and the inadequacy of the labels it generates.
Challenging the complexities of language, Betts animates what it means to be a "felon."Written by Reginald Dwayne Betts
Four decades of multimedia exploits in race, art politics and subjectivity: a long-overdue survey on conceptual performance artist Lorraine O’Grady
Conceptual performance artist Lorraine O'Grady burst into the contemporary art world in 1980 dressed in a gown made of 180 pairs of white gloves and wielding a chrysanthemum-studded whip. For the next three years, O’Grady documented her exploits as this incendiary fictional persona, visiting gallery openings and providing critiques of the racial politics at play in the New York art scene. The resulting series, Mlle Bourgeoise Noire, was merely the beginning of a long career of avant-garde work that would continue to build upon O’Grady’s conceptions of self and subjectivity as seen from the perspective of a Black woman artist. This survey of O’Grady’s work spans four decades of her career and features nearly all of her major projects, as well as Announcement, the opening series of a new performance piece seven years in the making. Contextualized by an extensive timeline with letters, journal entries and interviews, Both/And provides a long-overdue close examination of O’Grady’s artistic and intellectual ambitions.
Before she became an artist at the age of 45, Lorraine O’Grady (born 1934) worked as an intelligence analyst for the United States government, a translator, and a rock music critic for the Village Voice and Rolling Stone. O’Grady’s unique life experiences, as well as her identity as a diasporic subject, have informed her multidisciplinary practice across live performance, video, photomontage, public art and cultural criticism. She is represented by Alexander Gray Associates, New York.
“Uneasy Dancer” is an expression Saar has used to define both herself and her artistic practice: “my work moves in a creative spiral with the concepts of passage, crossroads, death and rebirth, along with the underlying elements of race and gender.” Through her use of found objects, personal memorabilia and derogatory images that evoke denied or distorted narratives, Saar developed a powerful social critique that challenges racial and sexist stereotypes deeply rooted in American culture.Edited with text by Mario Mainetti, Chiara Costa, Elvira Dyangani Ose. Foreword by Miuccia Prada, Patrizio Bertelli. Text by Richard J. Powell, Deborah Willis, Kellie E. Jones.
Dubbed “a mighty poet” by American author Henry James, Titian remains one of the most celebrated painters in Western art. Since his death in 1576, the artist’s reputation has never waned. In Gilded Age America, Titian paintings became the peerless prizes of leading collectors and quickly rose to the top of Isabella Stewart Gardner’s wish list. In 1896, she landed his masterpiece, The Rape of Europa. It became the sole example of his celebrated cycle of poesie outside of Europe, inspired an entire gallery in her newly built museum, and contributed to England’s national outcry over the loss of its art treasures. This book – the first dedicated to Europa – tells the painting’s story in Gardner’s time, in Titian’s, and offers rare insights into the artist’s virtuoso technique.
Published here for the first time, dramatically enlarged details of the composition demonstrate Titian’s deft touch and dazzlingly technical accomplishment. These bravura passages recently revealed by the painting’s comprehensive cleaning – the first since its arrival in America – are accompanied by commentary from the conservator, Gianfranco Pocobene, who returned Europa to its original glory.
This book accompanies the Gardner Museum exhibition, Titian: Women, Myth, and Power, reuniting his poesie series in the United States for the first time. Gift at the Gardner also carries a hardcover title, Titian: Love, Desire, Death, which is the National Gallery’s exhibition catalog for the same suite of paintings.
Edited by Nathaniel Silver, previous William and Lia Poorvu Curator of the Collection at the Isabella Stewart Gardner Museum (2018-2022)
Published by Paul Holberton Publishing, 2020
Measures 9.3" x 7.6"
The bright and insightful guide to birthday colors is back with an all-new cover inspired by the iconic Pantone color system. Discover every vibrant aspect of your personality with Colorstrology, a fascinating blend of astrology, numerology, and color theory that offers exciting new insights about our lives and relationships. Written by renowned astrologer Michele Bernhardt using the numbers and color schemes of Pantone, Inc., the global authority on color, the system features 366 “birthday colors” that illustrate who we are and how we behave. Using Colorstrology, you’ll quickly understand how to enhance your best personality traits with your birthday color. This full-color book features detailed profiles of everyone you know, plus 366 perforated swatches so you can take your birthday color wherever you go.Written by Michele Bernhardt
The first encompassing publication on the work of the groundbreaking American artist Adam Pendleton (Gardner Artist-in-Residence, 2008)
Adam Pendleton's original and powerful body of work has been described as the embodiment of a new era. His multifaceted projects, which include painting, collage, film, and publishing, re-contextualize historical and theoretical positions on abstraction, blackness, and the avant-garde. Working predominantly in black-and-white, Pendleton often creates 'total works' that envelop viewers and push the limits of contemporary discourse.Written by Adrienne Edwards, Alec Mapes Frances, Andréa Picard
Rituals of giving and receiving: three decades of Lee Mingwei's performative transformations of the everyday
Born in Taiwan in 1964 and currently living in Paris and New York City, Lee Mingwei creates participatory installations where strangers can explore issues of trust, intimacy and self-awareness, and one-on-one events where visitors contemplate these issues with the artist through eating, sleeping, walking and conversation. Lee's projects are often open-ended scenarios for everyday interaction, and may change during the course of an exhibition.
The artist's solo exhibition at Gropius Bau in Berlin showcases his installations and performances from the last three decades. In fall 2019, the artist put out an open call for Berlin-based hosts to activate several of his projects. Thus, in The Living Room hosts are invited to exhibit their unique collections; in The Mending Project the menders host conversations with visitors whilst repairing their damaged items of clothing.
This catalog is designed as a book block without a bound cover, housed in a transparent jacket.Written by Lee Mingwei, Edited by Clare Molloy and Stephanie Rosenthal
6.7 x 9.3 inches
What’s new, now and next from contemporary Black artists
This book surveys the work of a new generation of Black artists, and also features the voices of a diverse group of curators who are on the cutting edge of contemporary art. As mission-driven collectors, Bernard I. Lumpkin and Carmine D. Boccuzzi have championed emerging artists of African descent through museum loans and institutional support. But there has never been an opportunity to consider their acclaimed collection as a whole until now.
Edited by writer Antwaun Sargent (author of The New Black Vanguard: Photography Between Art and Fashion), Young, Gifted and Black draws from this collection to shed new light on works by contemporary artists of African descent. At a moment when debates about the politics of visibility within the art world have taken on renewed urgency, and establishment voices such as the New York Times are declaring that “it has become undeniable that African American artists are making much of the best American art today,” Young, Gifted and Black takes stock of how these new voices are impacting the way we think about identity, politics and art history itself.
Young, Gifted and Black contextualizes artworks with contributions from artists, curators and other experts. It features a wide-ranging interview with Bernard Lumpkin and Thelma Golden, director and chief curator of the Studio Museum in Harlem; and an in-depth essay by Antwaun Sargent situating Lumpkin in a long lineage of Black art patrons. A landmark publication, this book illustrates what it means (in the words of Nina Simone) to be young, gifted and Black in contemporary art.
This beautifully illustrated book, with numerous essays by an international roster of leading art historians, examines Jacopo Tintoretto's masterpiece Angel Foretelling the Martyrdom of Saint Catherine of Alexandria, painted between 1560 and 1570 for the Church of San Geminiano in Venice. It was displayed in this location for some 250 years until the church was demolished in 1807, and in 1818 the painting was sold into private hands. It was, famously, the centerpiece of the late rock star David Bowie's collection, being one of the first artworks he acquired. He had it for nearly 30 years, and named his record label after the artist (the Jones/Tintoretto Entertainment Company LLC). In 2016 it was purchased at auction by a private collector and donated to the Rubens House in Antwerp, where it is on long-term loan. This book accompanies the display of the painting, back in Venice for the first time in 200 years as part of an exhibition at Palazzo Ducale.Written by Christina Currie, Xavier F. Salomon, Ben van Beneden
This book recounts the fascinating history of Titian's unfinished portrait, A Lady and her Daughter (possibly his mistress Milia and their daughter), which dates from the early 1550s. After Titian's death in 1576, it was repainted in his studio with a more saleable image of Tobias and the Angel. Often presented as Titian's work but in a style which made the attribution suspect, the painting has had a succession of owners. It belonged to Tsar Nicholas I for a short time, and ultimately to the art dealer René Gimpel, who hid it with other artwork in a warehouse in London during World War II, where it miraculously survived the Blitz. It was not until the mid-20th century that an x-ray examination uncovered the beautiful painting underneath, an undisputed work by the great master himself. The painstaking restoration process, begun in 1983, took 20 years. Notable art historians and conservators have contributed essays that offer an in-depth examination of this exceptional and mysterious painting.Written by Jaynie Anderson, Larry Keith, Irina Artemieva
The result of extensive recent research, Migrating Objects reveals Peggy Guggenheim's two-decade period of collecting beyond the European and North American art with which she is usually associated
In the 1950s and '60s, Peggy Guggenheim (1898-1979) began to turn her attentions as a collector toward the arts of Africa, Oceania, and the Americas. Migrating Objects focuses on this lesser-known but crucial episode in her life and activities. In these years, Guggenheim acquired works created by artists from cultures worldwide, including early 20th-century sculpture from Mali, the Ivory Coast and New Guinea, and ancient examples from Mexico and Peru.
Migrating Objects emerges from an extended period of research and discussion on this largely ignored area of Guggenheim's collection by a curatorial advisory committee, which has yielded exciting results, including the reattribution of individual works, among them the Nigerian headdress (Ago Egungun) produced by the workshop of Oniyide Adugbologe--illustrated here alongside other pieces that will greatly expand understanding of Guggenheim's collecting.Edited by Vivien Green
Having inspired fervent study for centuries, Rembrandt and his Dutch Golden Age contemporaries are admired especially for their portraiture, with Rembrandt in particular having captured a liveliness in his subjects that continues to inspire artists today. In the 17th century, there was a significant market demand for portraits among Amsterdam’s upper class; like Rembrandt, painters such as Thomas de Keyser (c. 1596-1667), Frans Hals (c. 1582-1666) and later Bartholomeus van der Helst (1613-70) relied on these commissions for a critical portion of their income and thus created a wealth of paintings depicting various sitters. Helmed by Amsterdam Museum curator Norbert Middelkoop, this 2020 Museo Nacional Thyssen-Bornemisza exhibit presents 20 painted portraits and 20 engravings by Rembrandt and some 60 pieces by his contemporaries in a comprehensive survey that reveals the everlasting quality of these works.
This clothbound volume accompanies the exhibit and includes color reproductions of key pieces as well as research into the stories behind the paintings’ subjects: married couples, craftsmen at work, children, scholars, businessmen, the artists themselves and important group portraits.
Rembrandt Harmenszoon van Rjin (1606-69), better known by the mononym Rembrandt, was a draftsman, printmaker, art collector and painter whose tremendous output of work helped define the Dutch Golden Age. Although he died in near poverty, Rembrandt is now widely understood as one of the greatest and most-studied artists in the Western canon.
This volume draws on cultural geography, museology, gender studies, and art history to explore nineteenth-century attitudes towards the American landscape in the broadest sense. The subjects range from the Transcendentalism of Emerson and Thoreau, and Winslow Homer's illustrations of contemporary women, to dioramas of prehistoric life in the American Museum of Natural History. The "invention" of the Grand Canyon as a tourist destination and even the films of John Ford are used to illustrate the Victorian era's obsessions with nature. These six essays were originally presented at a symposium organized by the Isabella Stewart Gardner Museum.Edited by T. J. Jackson Lears
This major publication sheds new light on one of the most important artworks produced in late fifteenth century Spain.
The twenty-six panels of the altarpiece of the cathedral of Ciudad Rodrigo (Castile) rank among the most beautiful and ambitious works by two of Castile’s gifted late medieval painters, Fernando Gallego and the virtually unknown Master Bartolomé. Accompanying a major new exhibition of their work, this extensively illustrated volume includes full catalog entries for each of the panels, as well as a collection of essays exploring both their cultural and artistic significance. Ranging in subject matter from the physical life and composition of the altarpiece itself, to Fernando Gallego, the Hispano-Flemish tradition in Spain and millennialism in late fifteenth-century Castile, these essays highlight individual techniques and workshop practices in the context of the cosmopolitan communities of a Gothic city.Barbara C. Anderson, Amanda W. Dotseth, Mark A. Roglan
Giovanni Bellini was probably born around 1432-3, and became active as an artist around 1445/1450. Two artistic influences, the Byzantine and the Flemish, important in Venice as a result of its economic and commercial life, would always from the basis of many of his ideas, as were the works of Donatello left in Padua as a result of his 10-year residence there. Giovanni Bellini explores the life and works of this artist, including his Mantegnesque phase, which comprises several fundamental works, and the paintings of Bellini's mature years.
By Mariolina Olivari
Published by Riverside Book Company, 1990
8.5 x 11 inches
Fra Filippo Lippi was an eccentric artist, whose behavior was disreputable and dishonored the monk's habit that he had worn ever since he was little more than a child. Lippi quarreled with clients and workshop assistants, was constantly in trouble for being late in delivering his paintings, and was threatened with excommunication several times. Filippo Lippi examines the life of this controversial figure, citing the opinions of his contemporaries and patrons, such as Cosimo de Medici. The critical appraisal of Fra Filippo is discussed at length, followed by an examination of his works, including his great fresco cycles in Prato and Spoleto, and the influence on his work of Flemish Art.
By Gloria Fossi
Published by Riverside Book Company, 1989
8.5 x 11 inches
Andrea Mantegna was born in 1430-1, probably at Isola di Carturo, near Vicenza and Padua Piazzola in between. One of Mantegna's early works is on the fresco decoration of the chapel Ovetari in the Eremitani church in Padua, where he painted three figures of saints - Peter, Paul and Christopher. Mantegna follows the life and works of this painter, with his frescoes and paintings Reproduced in full color. This book explores Mantegna's work, falling on his periods in Padua, Mantua and Rome, including the Camera degli Sposi and the Triumph of Caesar.By Ettore Camesasca
This book explores an extraordinary family compound from the first-person perspective of the architect, Salvatore LaRosa: the landscape architect, Douglas Reed: and the photographer, Scott Frances. The design chronicled here in words and images is at once modern, classical, and romantic. The book that transports readers into this one-of-a-kind domain is also a beautiful artifact in its own right.Written by Salvatore LaRosa with contributions by Douglas Reed and photography by Scott Frances
The penultimate volume of the acclaimed catalogue raisonné showcases paintings of some of Sargent’s favorite places and people
After John Singer Sargent (1856–1925) determined to curtail his internationally successful portrait practice, he had more freedom to paint where and what he wanted. Volume VIII of the John Singer Sargent catalogue raisonné transports us to the artist’s most beloved locations, often with his friends and family. In the paintings featured here, Sargent returned to subjects that had always held deep personal connections and artistic challenges: mountains, streams, rocks and torrents, figures in repose, architecture and gardens, boats and shipping. He had known and painted the Alps since childhood, and his new Alpine studies make up the greatest number of works in this book.
Beautifully designed, this volume represents a continuation in organization and presentation of the high standards that mark the series, and documents 299 works in oil and watercolor. Each painting is catalogued with full provenance, exhibition history, and bibliography. Wherever possible, works are illustrated in color; some are accompanied by related drawings and comparative studies by Sargent’s fellow artists. Contemporary photographs pinpoint the places and views that Sargent painted.
Written by Richard Ormond and Elaine Kilmurray
Published by Yale University Press, 2014
10.25 x 12.75 inches
From 1900 to 1907, John Singer Sargent (1856-1925) traveled considerably, visiting the Alps, Italy, Spain, Norway, and Palestine. In Palestine in 1905, he painted a significant group of oils and watercolors as well as a group of studies of the Bedouin. It was during this burst of artistic production that he painted The Mountains of Moab (Tate Gallery, London), which was the first pure landscape he ever exhibited (Royal Academy, 1906). In Italy and Spain, Sargent painted parks, gardens, fountains, and statues, subjects that reveal his taste for the high style of Renaissance and Mannerist art and for the romantic grandeur of deserted spaces.
As evidenced by the works in this new volume, Sargent reinvented himself as a landscape painter during his travels. Expressing a finely developed sense of modernity, he selected quirky angles of vision and used a range of compositional strategies—compression, foreshortening, abrupt croppings, and receding perspectives—in a manner that is quasi-photographic. He exploited the material qualities of pigment, and the impasto is often so thickly applied that figure and landscape seem to dissolve together creating rich, near abstract surface patterns. The restless handling and dynamic compositional rhythms act in creative tension with the artist's more traditional subject matter, generating notions of instability and ambiguity that are distinctly modern in character.
Written by Richard Ormond and Elaine Kilmurray
Published by Paul Mellon Centre BA, 2012
10.25 x 12.75 inches
Phaidon’s classic illustrated monograph on Raphael, updated with an elegantly crafted design for today’s burgeoning art aficionados.
Reviving a much beloved group of artist monographs from the Phaidon archive, the new Phaidon Classics bring to life the fine craftsmanship and design of Phaidon books of the 1930s, 40s and 50s. Updated with a contemporary "classic" design, full color images and new introductions by leading specialists on the work of each artist, these elegantly crafted volumes revive the fine bookmaking of the first half of the twentieth century, making Phaidon Classics instant collectors’ items.
A magnificent study of Raphael (1438–1520), one of the greatest painters of the Italian Renaissance, whose brief career produced such masterpieces as The School of Athens and The Three Graces. The large-format images bring to life Raphael’s radiant colors and brushwork in the religious paintings of the Madonna and saints, mythological paintings, and portraits ranging from Pope Julius II to Baldassare Castiglione.Written by W.E. Suida
Both a landscape designer and a public artist, Ken Smith produces designs that range in scale from small public installations to vast parks. He is known for inventive and imaginative gardens and landscapes, some of which use little or no natural plant material. His projects include public, commercial, and private work: urban parks, streetscapes, plazas, gardens, public art commissions, memorials, museums and institutions, urban development and multiuse projects, restoration of modern-era landscapes, waterfront planning and design, and residential projects.
Among Smith’s best-known projects are the MoMA Roof Garden, consisting of white gravel, recycled black rubber, crushed glass, sculptural stones, and artificial boxwood plants in a camouflage pattern; the Elevated Acre, a one-acre urban plaza with a sloping topography of planted dunes and an elevated view of New York Harbor; and Orange County Great Park, California, a redevelopment of a Marine Corps air station to include a 2.5-mile canyon, 20-acre lake, cultural terrace, botanical gardens, great lawn, performing arts venue, veterans memorial, aircraft museum, sports park, nature preserve, and wildlife corridor.Written by Ken Smith; Introduction by John Beardsley
A focused investigation of Whistler’s watercolors that introduces readers to a rarely seen aspect of the artist’s creative output
In the 1880s, James McNeill Whistler (1834–1903) reinvented himself through the medium of watercolor. At the time, excellence in watercolor was most often associated with British artists, and most notably with the work of J. M. W. Turner (1775–1851). Whistler’s embrace of watercolor allowed the expatriate artist to present himself as an heir to the great Turner, while at the same time creating easily portable works that could supply an American market and, the artist hoped, help secure his art-historical legacy in his home country. Indeed, it was the American Gilded Age industrialist Charles Lang Freer who would amass the largest collection of Whistler’s watercolors, eventually bequeathing them to the Smithsonian in 1906.
This publication is the first systematic study of Freer’s amazing treasure trove of more than 50 watercolors by Whistler and includes figures, landscapes, nocturnes, and interiors. Providing both an art-historical context that looks into the contemporary reception of the works, as well as rigorous scientific analysis of Whistler’s materials and techniques, this volume offers a groundbreaking look into an overlooked segment of the celebrated artist’s oeuvre.Written by Lee Glazer
Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant pre-twentieth-century artworks in the European tradition that have recently come to light or about which new research is underway, as well as on the history of their collection. Texts about artworks should place them within the broader context of the artist’s oeuvre, provide visual analysis and comparative images.
The Museum is featured in the essay "Selling Botticelli to America: Colnaghi, Bernard Berenson and the sale of the Madonna of the Eucharist to Isabella Stewart Gardner" written by Jeremy Howard.Edited by Stijn Alsteens, et al.
Romanticism, realism, impressionism—today these are the most important stylistic labels for French painting during the nineteenth century. Though celebrated today as precursors to modernism, Delacroix, Courbet, Manet, and many others were highly controversial figures in their time for their departures from neoclassical methods. On the other hand, salon painters who were highly regarded during the nineteenth century—like Meissonier, Cabanel, and Bouguereau—have been consigned to the fringes of art history today.
This unique volume juxtaposes these reformers of painting and their more traditional counterparts, offering a discriminating look at the controversial styles in French painting between 1820 and 1880, as well as the developments within more conventional genres. Exploring the parallels, diversity, and contradictions in the practice and reception of French painting, Praised and Ridiculed shows the outstanding role played by both experimental and neoclassical painters during the nineteenth century.Edited by
A new undertaking by Venetian Heritage and Bulgari for Venetian art offers the occasion to rediscover two paintings by Paolo Veronese, a great master of Venetian Renaissance art.
Two paintings by Paolo Veronese, Saint Jerome in the Desert and Saint Agatha in Prison, dating to 1566 and located in the church of San Pietro Martire in Murano, have been recently restored, together with their seventeenth-century gilded frames. Before the restoration, the paintings were in bad condition, very dark and scarcely readable, due to the application of varnishes that had oxidized over the years. The rich and unusual seventeenth-century frames, sculpted and gilded, were also in bad condition. Both works are relatively unknown because of their position in a lesser-known location and the poor condition they were in before the current restoration. The restoration has brought back to life the brilliant colors of the canvases and the vigorous gilded carvings of the frames, giving also the occasion to study their provenance and commission as well as their conservation history.
There are over 1,000 cataloged works by Sir Peter Paul Rubens (1577–1640), the 16th-century flag bearer for Baroque drama, movement, and sensuality. This essential introduction takes in the most important works from this astonishingly prolific oeuvre to explore Rubens’s influences and innovations, and his remarkable visual, and art historical, impact.
The richly illustrated survey takes in Rubens’s portraits, landscapes, and historical paintings, as well as his famed and bountiful nudes. Along the way, we examine the artist’s astonishing technique and his deft ability to depict narrative in a compelling and legible visual form, whether an erotic mythological scene or a tender biblical story. This remarkable artistic bravura is placed in context both within Rubens’s long art historical legacy through Van Dyck, Velázquez, and beyond, and his other talents as a classical scholar, diplomat, and knight.
Christof Thoenes presents an essential introduction to supreme Renaissance master, Raphael Santi. With approximately one hundred illustrations and a detailed, chronological summary, this book explores how Raphael painted his way to legendary greatness in just two decades of work. Noting highlights from his prolific output, it presents the mastery of figures and forms that secured his place among the most esteemed artists of all time.Written by Christof Thoenes
With the patronage of the powerful Medici family, a canon of secular and religious work, and contributions to the celebrated Sistine Chapel, Sandro Botticelli (1444/45–1510) was well placed for fame. After his death, however, his work was eclipsed for some four hundred years. It wasn’t until the 19th century that the painter began to gain major art-historical recognition.
Today, Botticelli is hailed as a towering figure of the Florentine Early Renaissance. His secular works The Birth of Venus and Primavera, mostly read as an allegory of Spring, are among the most recognized paintings in the world, resplendent in their delicate details, graceful lines, and compositional balance. His arrangements are fluid yet poised, his figures serene yet sensual. Venus, in particular, is held up as art-historical icon of beauty: pale-skinned, delicately featured, soft with fecund promise.
This essential introduction presents key works from Botticelli’s oeuvre to understand the making of a Renaissance legend. Through the painter’s most famous mythological and allegorical scenes, as well as his radiant religious works, we explore a mastery of figuration, movement, and line, which has gone on to inspire artists from Edgar Degas to Andy Warhol, René Magritte to Cindy Sherman.
One of the most influential scholars of the Renaissance, Pietro Bembo (1470–1547) gained fame not only for his literary theory and poetry, but for his incredible collection of art and antiquities. Drawing on anecdotes from Bembo’s letters and unpublished archival material, Susan Nalezyty analyzes how Bembo’s collection functioned as a source of inspiration for artists like Titian and writers like Giovanni della Casa. As visitors to the collection marveled at the quality and variety of the displayed objects, Bembo encouraged investigations into the ways in which contemporary art compared with ancient objects. Often straddling the line between the visual and literary worlds, these critical discussions catalyzed artistic experiments that led to new modes of creative expression. This generously illustrated volume brings Bembo’s collection to life and reveals its key role in the development of Renaissance artistic philosophy and historical study of the classical past.Written by Susan Nalezyty
One of the premier artists of Renaissance Venice, Paolo Veronese (1528–1588) enjoyed a successful career creating splendid and sophisticated paintings for an elite clientele. Focusing on Veronese’s materials, workshop organization, and remarkably varied techniques, this important book provides a rich examination of the artist’s painting practice and how it developed throughout his career—from his initial training in Verona through the height of his fame in Venice. Diana Gisolfi’s multidisciplinary approach brings together information on the physical qualities of Veronese’s works discovered during recent conservation projects, a fresh look at contemporary texts from the 16th century, and a nuanced understanding of the world of Venetian artists and their patrons. This innovative approach elucidates the working life of Veronese and his circle of contemporaries in new and fascinating ways.Written by Diana Gisolfi
Beginning with the analysis of two works by Titian (ca. 1488–1576) preserved in the Czech Republic―the so-called “Vanitas” belonging to the Prague Castle Collections, a portrait of a beautiful young woman usually interpreted as an allegory of vanity, and the gruesome “Flaying of Marsyas” housed in the Archbishop’s Palace in Kromeriz―Titian: Vanitas deals with the artistic and existential life of the Cadore-born painter and presents the two paintings in the context of Titian’s broader production. This volume, edited by Lionello Puppi and Serena Baccaglini and including texts from Giorgio Reolon, Barbara Putova, Silvia Miscellaneo and Antonio Genova, delves into the Renaissance artist’s process and self-presentation, from the preparation of models and the production of replicas to the success of the artist and the intention and manipulations of his self-portraits.Edited by Lionello Puppi and Serena Baccaglini
The keys in your pocket right now are probably pretty boring. Mass-produced, stamped out without care, and used without thought, they’re nothing more these days than a tool.
But that hasn’t always been the case—and the large numbers of key collectors the world over know better than anyone. In Lure of the Key, William Wallace draws on more than thirty-five years of collecting keys to offer a richly illustrated history of the key from the Middle Ages to 1900. Paying particular attention to the incredible innovations and craftsmanship of the period around 1700, the zenith of creative keymaking, Wallace invests his history with a clear sense of the pleasure and excitement of key collecting (or cagophily)—after reading his account, you’ll never take even your dull modern keys for granted again.
“Walden. Yesterday I came here to live.” That entry from the journal of Henry David Thoreau, and the intellectual journey it began, would by themselves be enough to place Thoreau in the American pantheon. His attempt to “live deliberately” in a small woods at the edge of his hometown of Concord has been a touchstone for individualists and seekers since the publication of Walden in 1854.
Drawing on Thoreau’s copious writings, published and unpublished, Walls presents a Thoreau vigorously alive in all his quirks and contradictions: the young man shattered by the sudden death of his brother; the ambitious Harvard College student; the ecstatic visionary who closed Walden with an account of the regenerative power of the Cosmos. We meet the man whose belief in human freedom and the value of labor made him an uncompromising abolitionist; the solitary walker who found society in nature, but also found his own nature in the society of which he was a deeply interwoven part. And, running through it all, Thoreau the passionate naturalist, who, long before the age of environmentalism, saw tragedy for future generations in the human heedlessness around him.Written by Laura Dassow Walls
Fra Angelico (c. 1400-55) is one of the most popular artists of the early Italian Renaissance. In his own lifetime churches and cathedrals competed for his work, and the style he evolved has come to be regarded as the natural language of religious painting. For more than a century the popular image of an angel has been that of an angel by Fra Angelico.
Perhaps his best known work is the series of fresco decorations in the convent of San Marco in Florence, where Angelico was a friar. These paintings tell the story of the life of Christ as vividly and movingly today as they must have done over five hundred years ago. The powerful simplicity of the forms, the treatment of light and the subtlety of color testify both to Fra Angelico's personal religious conviction and to his awareness of recent developments in Florentine art.
This comprehensive survey of Angelico's work includes many panels from San Marco, and from his other important commission in the Vatican, and a superb selection of altarpieces and panels spanning his whole working life.
Christopher Lloyd's authoritative essay on Angelico was first published in 1979, with the forty-eight full page color plates. For this revised edition, David White has added a full and clear commentary on each picture, and numerous black-and-white illustrations to compare with the paintings.