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!
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
Miniatures and artifacts illustrate the abiding mythic resonances of water in the Islamic imagination
There exists an age-old and intimate bond between water and the Islamic world. Water was tamed with the qanat and became a ritual with the hammam; it was venerated as a heavenly gift and feared as a divine punishment. This relationship can be explained only in part by atmospheric conditions: an ancient legacy of previous cultures and civilizations, a deep sense of religion and many complex social and cultural themes must also be invoked.
This volume tells the story of water in the Islamic imagination through artifacts, books and miniatures, but also through canalization systems in Syria, gardens in Spain and baths in Istanbul. In addition, statements in the Qur’an and subsequent literature illustrate the historic development of the many roles and meanings of water and the incarnation of its significance in Islamic art and craftsmanship.
Two 17th-century masters in dialogue and in context
This volume presents the best work of two 17th-century master painters from the Netherlands and Spain, pairing paintings by each while also looking at them in the context of their contemporaries and compatriots, such as Zurbarán, Vermeer, Murillo, Hals, Valdés Leal, Torrentius, Ribera and others. Each pair tells a story or illustrates a theme that unites the two paintings, from concepts such as religion, faith, wealth or love to artistic challenges such as composition, light and shadow.
Rembrandt and Velázquez were the leading artists of their respective countries. Both masters worked in a climate that included many other painters who enjoyed great reputations, such as Zurbarán and Murillo in Spain, and Vermeer and Frans Hals in the Netherlands. Although there was no direct contact between the painters from the North and South, they show clear similarities, not only in artistic ambition, but in the impulse toward realism and their illustration of religious themes.
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
One of the richest fabrics known to man, velvet is today more in fashion than ever. Couturiers and street designers favor its softness and luster, but it has been famed throughout the ages for sumptuous elegance. Velvet is the story of this ostentatious fabric, in fashion, furnishing, art and design. Clothes from every period are featured, from the Middle Ages to the latest collections by Givenchy and Montana. Paintings and photographs illustrate velvet's use in upholstery, or as hangings in palaces, theatres and opera houses. Types, techniques and processes are fully documented. Velvet's opulence is only matched by its versatility. Now it is presented in a book which is as rich as its subject. Includes 208 color and 52 black and white illustrations.
By Fabrizio de Marinis
Published by Idea Books, 1994
11.19 x 9.14 x 0.59 inches
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
Throughout his career―and particularly in the period from 1898 to 1913―John Singer Sargent painted the spectacular architecture and scenes of everyday life in Venice, as he sat alongside the Grand Canal or in a gondola in the sleepy side canals. This lavishly illustrated book presents all the luminous masterworks that Sargent completed during that fertile fifteen-year period: oils and watercolors that reveal his taste for the Renaissance, Baroque, and high style in art and architecture as they were seen in the city’s unique light.
The book reproduces and documents 141 works, including several that are published for the first time. An authoritative essay explores the aesthetics of Sargent’s Venetian work, places it in the context of his oeuvre as a whole, explains Sargent’s relationships with his patrons in Venice, and discusses the exhibitions and marketing of this work in London and New York. The book also provides a map of Venice marking every known location that Sargent painted and displays dozens of contemporary color photographs of the sites.
Written by Richard Ormond and Elaine Kilmurray
Published by Paul Mellon Centre BA, 2009
10.25 x 12.75 inches
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.
Nicknamed “il divino,” Renaissance genius Michelangelo combined body, spirit, and God into visionary masterpieces across sculpture, painting, and architecture. From The Pietà to the extraordinary ceiling of the Sistine Chapel, this book provides the essential introduction to the artist’s revolutionary ideas and awe-inspiring artworks.
Written by Gilles Neret
Published by Taschen, 2016
8.3 x 10.2 inches
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
Most commonly associated with the birth of the Impressionist movement in mid-19th-century Paris, Edgar Degas (1834–1917) in fact defied easy categorization and instead developed a unique style, strongly influenced by Old Masters, the body in motion, and everyday urban life.
The elder scion of a wealthy family, Degas co-founded a series of exhibitions of “Impressionist” art, but soon disassociated himself from the group in pursuit of a more realist approach. His subjects centered on the teeming, noisy streets of Paris, as well as its leisure entertainments, such as horse racing, cabarets, and, most particularly, ballet. With often ambitious, off-kilter vantage points, his images of ballerinas numbered approximately 1,500 works, all deeply invested in the physicality and the discipline of dance.
Through illustrations of Foyer de la Danse (1872), Musicians in the Orchestra (1872), and many more, this book provides an essential overview of the artist who created a category all his own, a world of classical resonance, bold compositions, and an endless fascination with movement, which together produced some of the most striking and influential works of the era.
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