European Art in the Columbia Museum of Art, Including the Samuel H. Kress Collection


Book Description

Established in 1950, the Columbia Museum of Art is the only public museum in South Carolina with an extensive collection of international art. This is thanks in no small part to significant donations from the Samuel H. Kress Foundation between 1954 and 1974, which have made the museum one of the nation's major depositories of Kress gifts of art. This catalogue serves as a striking visual reference to the museum's holdings in European art from the late Gothic period to the end of the Renaissance and includes paintings, drawings, prints, sculptures, decorative bronzes, furniture, ceramics, stained glass, and textiles. In all, eighty-four pieces are presented in color illustrations and detailed in an art historical context to benefit scholars and researchers as well as interested museum visitors. Fifty-six works of Renaissance art--several by such prominent figures as Bernardo Daddi, Sandro Botticelli, Giovanni Antonio Boltraffio, Andrea Solario, Mariotto Albertinelli, Albrecht Dürer, Parmigianino, Ambrosius Benson, Alessandro Allori, François Clouet, and Jacopo Tintoretto--are described by accomplished art historian Charles R. Mack and a team of researchers in catalogue essays that each provide an in-depth consideration of the artist's biography and contribution, the work, its provenance, and its history of attributions, ownership, and exhibition. The entries also describe such matters as condition, conservation history, and, in the case of paintings, the authenticity of frames. Arranged in chronological order by date of execution, the pieces in this section represent most of the museum's Kress materials. An additional twenty-six pieces are more briefly described in an illustrated checklist. The volume also includes an essay on the formation and distribution of the Kress Collection and an essay on the history of medieval and Renaissance art, with particular attention paid to the museum's holdings. The catalogue concludes with three appendixes treating changes in attribution, the correlation of museum inventory numbers with catalogue numbers, and the correlation of 1962 Kress Collection catalogue numbers with new catalogue numbers.




Coatings on Photographs


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Art Libraries Journal


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Jackson Pollock and Lee Krasner


Book Description

For more than a decade, Jackson Pollock and Lee Krasner devoted their lives to each other, serving in turn as muse, critic, companion, lover, friend and alter ego. Their romance was stormy - their raucous arguments are the stuff of legend - but their talents were prodigious. This book is packed with examples of the contributions both artists made to the world of modern art. Readers will learn how Pollock and Krasners artistry evolved and how they influenced each others success. Recent developments, such as a revealing biopic and the art worlds elevation of Pollock to the status of being the most expensive artist in the world, bring their portrait fully up-to-date. While the author acknowledges historys sensationalisation of their lives, it is the paintings themselves - revolutionary, innovative and daring - that tell the most compelling story.




Studying and Conserving Paintings


Book Description

Contents: Overview The Samuel H. Kress Collection: Conservation and Context Marilyn Perry The Samuel H. Kress Program in Paintings Conservation at the Conservation Center, Institute of Fine Arts, New York University Margaret Holben Ellis Introduction to the Volume Michele Marincola Acknowledgements Michele Marincola 2. Historical Papers Philosophies and Tastes in Nineteenth-Century Paintings Conservation Wendy Partridge Stephen Pichetto, conservator of the Kress Collection 1927-1949 Ann Hoenigswald Mario Modestini, Conservator of the Kress Collection 1949-1961 Dianne Modestini 3. Technical Studies & Treatment A New Leaf: Recent Technical Discoveries in the Goodhart Ducciesque Master's Madonna and Child with Four Saints Jennifer Sherman Botticelli's Nativity Charles R. Mack The Re-use of a Desco da Parto Mika Okawa & Dianne Dwyer Modestini The Triumphs of Petrarch: An Analysis of a Renaissance Decorative Cycle Wendy Partridge A Portable Triptych in El Paso Dianne Dwyer Modestini Guidoccio Cozzarelli's Scenes from the Life of the Virgin Dianne Modestini School of Pietro Perugino, Saint Sebastian Annette Rupprecht & Sheri Francis Shaneyfelt The Master of the Manchester Madonna: Restoration, Technique, and a Context for Attribution Molly March Portrait of a Lady and Techniques in the late Paintings of Nicolaes Maes, and Painting Techniques in the Late Paintings of Nicolaes Maes Laurent Sozzani with Christopher McGlinchey View of the Molo: A Canaletto Attribution Reinstated Elise Effmann Canaletto Paints the Molo from the Ponte della Paglia Katharine Baetjer View of the Grand Canal with Dogana and Guardi Studio Pictures Helen Spande




Collectors and Collecting


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Permissions, A Survival Guide


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If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.




Painted Wood


Book Description

The function of the painted wooden object ranges from the practical to the profound. These objects may perform utilitarian tasks, convey artistic whimsy, connote noble aspirations, and embody the highest spiritual expressions. This volume, illustrated in color throughout, presents the proceedings of a conference organized by the Wooden Artifacts Group of the American Institute for Conservation of Historic and Artistic Works (AIC) and held in November 1994 at the Colonial Williamsburg Foundation in Williamsburg, Virginia. The book includes 40 articles that explore the history and conservation of a wide range of painted wooden objects, from polychrome sculpture and altarpieces to carousel horses, tobacconist figures, Native American totems, Victorian garden furniture, French cabinets, architectural elements, and horse-drawn carriages. Contributors include Ian C. Bristow, an architect and historic-building consultant in London; Myriam Serck-Dewaide, head of the Sculpture Workshop, Institut Royal du Patrimoine Artistique, Brussels; and Frances Gruber Safford, associate curator of American decorative arts at the Metropolitan Museum of Art in New York. A broad range of professionals—including art historians, curators, scientists, and conservators—will be interested in this volume and in the multidisciplinary nature of its articles.