An Exhibit Denied


Book Description

At 8:15 A.M., August 6, 1945, the Enola Gay released her load. For forty three seconds, the world's first atomic bomb plunged through six miles of clear air to its preset detonation altitude. There it exploded, destroying Hiroshima and eighty thousand of her citizens. No war had ever seen such instant devastation. Within nine days Japan surrendered. World War II was over and a nuclear arms race had begun. Fifty years later, the National Air and Space Museum was in the final stages of preparing an exhibition on the Enola Gay's historic mission when eighty-one members of Congress angrily demanded cancellation of the planned display and the resignation or dismissal of the museum's director. The Smithsonian tnstitution, of which the National Air and Space Museum is a part, is heavily dependent on congressional funding. The Institution's chief executive, Smithsonian Secretary I. Michael Heyman, in office only four months at the time, scrapped the exhibit as requested, and promised to personally oversee a new display devoid of any historic context. In the wake of that decision I resigned as the museum's director and left the Smithsonian.







Poussin and Nature


Book Description

"The work of the great French painter Nicolas Poussin (15941665) is most often associated with classically inspired settings and figures depicting solemn scenes from mythology or the Bible. Yet he also created some of the most influential landscapes in Western art, endowing them with a poetic quality that has been admired by artists as different as Constable, Turner, and Ce;zanne. As the British critic William Hazlitt noted in 1844, 'This great and learned man might be said to see nature through the glass of time'. This beautiful catalogue presents the first in-depth examination of Poussin's landscapes. Featured here are more than 40 paintings, ranging from the artist's early Venetian-inspired pastorals to his grandly structured and austere works, designed as metaphors or allegories for the processes of nature. Also included are approximately 60 drawings and essays by internationally renowned scholars who examine the painter's visual, literary, and philosophical influences as well as his relationships with his patrons and his place in the art-historical canon."--Publisher description.













Corot


Book Description

Published to accompany a major exhibition of Jean-Baptiste-Camille Corot's paintings held in Paris and Ottawa during 1996, and forthcoming to New York. From nearly 3,000 paintings by this poetic 19th-century artist, the curators chose 163 works, which are reproduced here along with full art-historical discussions of each. Three major essays chronicle Corot's life and the development of his art; additional essays elucidate the subject of forgeries and describe the collecting of his works. Much original new scholarship is included along with a review of the scholarly literature, a concordance, and a chronology. 9.5x12.5"Annotation copyrighted by Book News, Inc., Portland, OR










The Renaissance Nude


Book Description

A gloriously illustrated examination of the origins and development of the nude as an artistic subject in Renaissance Europe Reflecting an era when Europe looked to both the classical past and a global future, this volume explores the emergence and acceptance of the nude as an artistic subject. It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective. This book presents works by Albrecht Dürer, Lucas Cranach, and Martin Schongauer in the north and Donatello, Raphael, and Giorgione in the south; it also introduces names that deserve to be known better. A publication this rich in scholarship could only be produced by a variety of expert scholars; the sixteen contributors are preeminent in their fields and wide-ranging in their knowledge and curiosity. The structure of the volume—essays alternating with shorter texts on individual artworks—permits studies both broad and granular. From the religious to the magical and the poetic to the erotic, encompassing male and female, infancy, youth, and old age, The Renaissance Nude examines in a profound way what it is to be human.