The Dawn of European Art


Book Description




The Primacy of the Image in Northern European Art, 1400–1700


Book Description

The Primacy of the Image in Northern Art 1400-1700: Essays in Honor of Larry Silver is an anthology of 42 essays written by distinguished scholars on current research and methodology in the art history of Northern Europe of the late medieval and early modern periods. Written in tribute to Larry Silver, Farquhar Professor of the History of Art at the University of Pennsylvania, the topics are inspired by Professor Silver’s renowned scholarship in these areas: Early Netherlandish Painting and Prints; Sixteenth-Century Netherlandish Painting; Manuscripts, Patrons, and Printed Books; Dürer and the Power of Pictures; Prints and Printmaking; and Seventeenth-Century Painting. Studies of specific artists include Hans Memling, Albrecht Dürer, Hans Baldung Grien, Hieronymus Bosch, Pieter Bruegel, Hendrick Goltzius, and Rembrandt.




The Dawn of Christian Art in Panel Paintings and Icons


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Staking out new territory in the history of art, this book presents a compelling argument for a lost link between the panel-painting tradition of Greek antiquity and Christian paintings of Byzantium and the Renaissance. While art historians place the origin of icons in the seventh century, Thomas F. Mathews finds strong evidence as early as the second century in the texts of Irenaeus and the Acts of John that describe private Christian worship. In closely studying an obscure set of sixty neglected panel paintings from Egypt in Roman times, the author explains how these paintings of the Egyptian gods offer the missing link in the long history of religious painting. Christian panel paintings and icons are for the first time placed in a continuum with the pagan paintings that preceded them, sharing elements of iconography, technology, and religious usages as votive offerings. Exciting discoveries punctuate the narrative: the technology of the triptych, enormously popular in Europe, traced by the authors to the construction of Egyptian portable shrines, such as the Isis and Serapis of the J. Paul Getty Museum; the discovery that the egg tempera painting medium, usually credited to Renaissance artist Cimabue, has been identified in Egyptian panels a millennium earlier; and the reconstruction of a ring of icons on the chancel of Saint Sophia in Istanbul. This book will be a vital addition to the fields of Egyptian, Graeco-Roman, and late-antique art history and, more generally, to the history of painting.




ArtCurious


Book Description

A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.




The Metropolitan Museum of Art


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This monumental new book is the first to celebrate the greatest and most iconic paintings from the encyclopedic collections of The Metropolitan Museum of Art, New York, one of the largest, most important, and most beloved museums in the world. This impressive volume's broad sweep of material, all from a single museum, makes it at once a universal history of painting and the ideal introduction to the iconic masterworks of this world-renowned institution. More than 1,000 lavish color illustrations and details of 500 masterpiece paintings, created over 5,000 years in cultures across the globe, are presented chronologically from the dawn of civilization to the present. These works represent a grand tour of painting from ancient Egypt and classical antiquity and prized Byzantine and medieval altarpieces, to paintings from Asia, India, Africa and the Americas, and and the greatest European and North American masters. The Metropolitan Museum of Art includes and introduction and illuminating texts about each artwork written specially for this volume by Kathryn Calley Galitz, whose experience as both curator and educator at the Met makes her uniquely qualified. European and American artists include Duccio, El Greco, Raphael, Titian, Botticelli, Bronzino, Caravaggio, Turner, Velázquez, Goya, Rubens, Rembrandt, Brueghel, Vermeer, David, Renior, Monet, Van Gogh, Gauguin, Cézanne, Degas, Sargent, Homer, Matisse, Picasso, Pollock, Jasper Johns, and Warhol. The artworks are arranged in rough chronological order, without regard to geography or culture, offering a visual timeline of the history of painting, from the earliest examples on pottery jars made over five thousand years ago to canvases on which the paint has barely dried. Freed from the constraints imposed by the physical layout of the Museum, the paintings resonate anew; and this chronological framework reveals unexpected visual affinities among the works. For those wishing to experience the unparalleled breadth and depth of the Met's collection, or study masterpieces of painting from throughout history, this important volume is sure to become a classic cherished by art lovers around the world.




Hans Hofmann


Book Description

The career of the German-American painter and educator Hans Hofmann (1880–1966) describes the arc of artistic modernism from pre–World War I Munich and Paris to mid twentieth-century Greenwich Village. His career also traces the transatlantic engagement of modern painting with the materials of its own making, a relationship that is perhaps still not completely understood. In these interrelated narratives, Hofmann is a central protagonist, providing a vital link between nineteenth- and twentieth-century art practice and between European and American modernism. The remarkable vitality of his later work affords insight not only into the style but also the literal substance of this formative period of artistic and material innovation. This richly illustrated book, the fourth in the Getty Conservation Institute’s Artist’s Materials series, presents a thorough examination of Hofmann’s late-career materials. Initial chapters present an informative overview of Hofmann’s life and work in Europe and America and discuss his crucial role in the development of Abstract Expressionism. Subsequent chapters present a detailed analysis of Hofmann’s materials and techniques and explore the relationship of the artist’s mature palette to shifts in the style and aging characteristics of his paintings. The book concludes with lessons for the conservation of modernist paintings generally, and particularly those that incorporate both traditional and modern paint media. This book will be of value to conservators, art historians, conservation scientists, and general readers with an interest in modern art.




Replications


Book Description

The twelve interdisciplinary essays collected here explore what Whitney Davis calls "replication" in archaeology, art history, and psychoanalysis--the sequential production of similar artifacts or images substitutable for one another in specific contexts of use. Davis suggests that while archaeology deals with the "physics" of replication (its material conditions and constraints), psychoanalysis deals with the "psychics" of replication (its mental conditions and constraints). Because art history is equally interested in the material properties and in the personal and cultural meaning of artifacts and images, it can mediate the interests of archaeology and psychoanalysis. Thus Replications explores not only the differences between but also the common ground shared by archaeology, art history, and psychoanalysis--focusing, for example, on their mutual interest in the "style" of artifacts or image making, their need to treat the "nonintentional" or "nonmeaningful" element in production, and their models of the subjective and social transmission of replications in the life history of persons and communities. Replications is an original contribution to an emerging field of study in domains as diverse as philosophy, cognitive science, connoisseurship, and cultural studies--the intersection of the material and the meaningful in the human production of artifacts. Davis develops formal models for and theories about this relationship, exploring the ideas of a number of philosophers, historians, and critics and presenting his own distinctive conceptual analysis.




Prehistoric Art


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Drawing on the most up-to-the-minute research on prehistoric art, an anthropologist presents a global survey, starting with the first explosion of imagery that occurred approximately 40,000 years ago but also including the creations of essentially "prehistoric" peoples living as recently as the early 20th century. 226 illustrations.




Prehistoric Europe


Book Description

The study of European prehistory has been revolutionized in recent years by the rapid growth rate of archeological discovery, advances in dating methods and the application of scientific techniques to archaeological material and new archaeological aims and frameworks of interpretation. Whereas previous work concentrated on the recovery and description of material remains, the main focus is now on the reconstruction of prehistoric societies and the explanation of their development. This volume provides that elementary and comprehensive synthesis of the new discoveries and the new interpretations of European prehistory. After and introductory chapter on the geographical setting and the development of prehistoric studies in Europe, the text is divided chronologically into nine chapters. Each one describes, with numerous maps, plans and drawings, the relevant archaeological data, and proceeds to a discussion of the societies they represent. Particular attention is paid to the major themes of recent prehistoric research, especially subsistence economy, trade, settlement, technology and social organization.




What Is Paleolithic Art?


Book Description

The noted archaeologist explores the varieties of prehistoric cave art across the world and offers surprising insights into its purpose and meaning. What drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the likenesses of lions, bison, horses, and aurochs as they flickered by firelight? Was it a creative impulse, a spiritual dawn, a shamanistic conception of the world? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to the “why” of Paleolithic art. Discussing sites and surveys across the world, Clottes offers personal reflections on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meant—and what function they may have served—for their artists. Steeped in Clottes’s shamanistic theories of cave painting, What Is Paleolithic Art? travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottes’s work lifts us from the darkness of our Paleolithic origins to reveal surprising insights into how we think, why we create, why we believe, and who we are