eBooks de Historia general del arte, página 38 de 42

Modernism is usually thought of as a shock wave of innovations hitting art, architecture, music, cinema and literature - the work of Picasso, Joyce, Schoenberg, movements like Futurism and Dada, the architecture of Le Corbusier, T.S. Eliots The Wasteland and the avant-garde theatre of Bertolt Brecht or Samuel Beckett. But what really defines modernism? Why did it begin and how long did it last? Is Modernism over now? Chris Rodriguez and Chris Garratts brilliant graphic guide is a brilliant exploration of the last centurys most thrilling artistic work - and what its really all about.

I wrote my thesis because it seemed incredible that a nineteenth century cleric could believe that paintings had the power to civilise his community of Londons poorest. Yet that is what he did believe and his ideas were exported round the world. I still dont know whether he was right...Frances Borzello What is the purpose of art? Aside from aesthetic considerations, does it have socio-political functions? Art critic Frances Borzello reflected on this in her doctoral thesis, later expanded for publication in 1987 as Civilising Caliban. Therein she traced a link between Victorian-era exhibitions mounted for Whitechapels poor by Anglican vicar Samuel Barnett to the munificent post-war patronage of the Arts Council. In a new preface to this edition Borzello reflects on how the idea of art for all has fared - along with the questions of who pays for it and what good it achieves.

The authors of After the Revolution return with an incisive study of the work of contemporary women artists. In After the Revolution, the authors concluded that "The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion." Now, with The Reckoning, authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organized in four thematic sections: "Bad Girls" profiles artists whose work represents an assault on conventional notions of gender and racial difference. "History Lessons" offers reflections on the self in the context of history and globalization. "Spellbound" focuses on womens embrace of the irrational, subjective, and surreal, while "Domestic Disturbances" takes on womens conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women."An indispensable contribution to the literature on contemporary art by women." (Whitney Chadwick, author of Women, Art and Society)"In the 2007 book After the Revolution: Women Who Transformed Contemporary Art, [the authors] set a new standard in documenting and evaluating the work of a dozen key women artists, spanning generations between the 1960s to the 2000s. . . The beat goes on with the appearance of The Reckoning, written by the same authors in the same accessible scholarly style, but reflecting important historical changes over the past decade and more. In line with the increased presence of women in mainstream art, the book includes twice as many artists as its predecessor. And its global reach has expanded vastly, stretching from Europe and the Americas to Africa and China." (Holland Cotter, The New York Times)

[Beardsleys] vision is permanently that of a child lying in bed watching his mother dress for a dinner-party. His fantasy hangs this here, tries the effect of that there: everything is a jewel, and everything is a sexual organ. He is allured, yet afraid to touch: driven back on a cold minuteness of detailed attention, and yet passionately curious, with the emotional and involved curiosity children give to sex.Brigid Brophy first published her study of the most intensely and electrically erotic artist in the world in 1968, at the height of her own powers and in the moment of a notable revival of interest - both scholarly and pop-cultural (amid the dandified realm of Carnavy Street) - in Beardsleys work.An infant prodigy, Beardsley retained through the brief years of his adult life the peculiar genius of a precocious child, and Brophy, well-versed in Freudian analyses, adroitly points out the polymorphous perversity of his pictures - that perversity, coupled with his inimitable graphic/monochromatic signature, accounting for why Beardsley, however high-baroque rococo his style, has remained endlessly modern.Black and White is illustrated by 44 reproductions and augmented by a detailed chronology.

Funerary Sculpture is the first volume on sculpture from the Agora in over 50 years, bringing together all the sculpted funerary monuments of the Athenian Agora, Classical through Roman periods, which were discovered during excavation from 1931 through 2009. The wide chronological span allows the author to trace changes in funerary monuments, particularly the break in customs that took place in 317 B.C., and the revival of figured monuments in the Roman period. The study consists of three essays followed by a catalogue of 389 objects. The author places the Agora sculptural fragments within the greater context of Attic funerary sculpture, moving from a general to a specific treatment of the funerary sculpture. The first essay is an overview of the study of Attic types of sculpture; the second discusses the specific features of funerary sculpture from Athens and Attica; and the third examines the characteristics of the funerary sculptures found in the Agora, thereby forming an introduction to the catalogue that follows. The catalogue includes stelai and naiskoi with female and/or male figures, sirens, decorative anthemia, funerary vessels, lekythoi, loutrophoroi, animals, mensa, columnar monuments, and more. There are separate indexes of museums, names, demes, places, and findspots, as well as a general index.

This book investigates Jan Van Eycks patronage by the Crown of Portugal and his role as diplomat-painter for the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429, when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided for the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analysed with regard to King Joao Is conquest of Ceuta, achieved by his sons, who were hailed as an "illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitanias sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henry the Navigators expedition to Tangier and King Duartes attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in the light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy. Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders. In 1993, she was conferred O Grao Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eycks diplomatic visits to the Iberian Peninsula.

This book investigates Jan Van Eycks patronage by the Crown of Portugal and his role as diplomat-painter for the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429, when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided for the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analysed with regard to King Joao Is conquest of Ceuta, achieved by his sons, who were hailed as an "illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitanias sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henry the Navigators expedition to Tangier and King Duartes attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in the light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy. Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders. In 1993, she was conferred O Grao Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eycks diplomatic visits to the Iberian Peninsula.

This study focuses on the "saucer pyres," a series of 70 deposits excavated in the residential and industrial areas bordering the Athenian Agora. Each consisted of a shallow pit, its floor sometimes marked by heavy burning, with a votive deposit of pottery and fragments of burnt bone, ash, and charcoal. Most of the pots were miniatures (including the eponymous saucers) but a few larger vessels were found, along with offerings associated with funerary cult. The deposits represent a largely Athenian phenomenon, with few parallels elsewhere. When first found in the 1930s, the deposits were interpreted as baby burials. Recent zooarchaeological analysis of the bones, however, reveals that they are the remains of sheep and goats, and that the deposits were sacrificial rather than funerary. The present study investigates the nature of those sacrifices, taking into account the contents of the pyres, their spatial distribution, and their relationship to buildings around the Agora and elsewhere. In light of a strong correlation between pyres and industrial activity, the author argues that the pyres document workplace rituals designed to protect artisans and their enterprises.

"Why Have There Been No Great Women Artists?" asked the prominent art historian Linda Nochlin in a provocative 1971 essay. Today her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent critics and curators describe the impact of women artists on contemporary art since the advent of the feminist movement.

One day in March 2011 staff at the Scottish Poetry Library in Edinburgh noticed a wonderful paper sculpture left on a table. Carved from paper and mounted on a book, it bore a tag expressing support for the Librarys work. From then until November 2011 nine more mysterious paper sculptures appeared in arts venues throughout Edinburgh, including the National Library of Scotland, the Filmhouse cinema, the National Museum of Scotland and the Scottish Storytelling Centre. Left anonymously, they appear to be the work of one highly talented and generous artist. In a farewell note, the artist identified herself as a woman and an artist/artisan, and she announced that the project had ended. This new paperback edition includes the latest paper sculptures that were revealed during Book Week in November 2012

Excavations conducted by the American School of Classical Studies at Athens in the Sanctuary of Demeter and Kore on Acrocorinth, 1961-1975, produced more than 170 inscribed objects of stone, bronze, bone, lead weights, pottery (graffiti and dipinti), clay pinakes, magical lead tablets, and in a mosaic. In this new Corinth volume, Ron Stroud presents all of these inscriptions, and he relates them to an overall interpretation of the activities, secular and religious, attested in this shrine during its long period of use from the 7th century B.C. until the end of the 4th century A.D. Where possible, Stroud also draws out their implications for and contribution to the history of ancient Corinth, the worship of the goddesses Demeter and Kore, and the practice of magic-especially in the Roman period. This is the final publication of the inscribed objects from the sanctuary, excluding loomweights and stamped amphora handles, which will be included in a later publication.

Welcome to the world of Steampunk: a unique fantasy version of nineteenth century Victorian England imbued with todays technology. Discover the captivating and dynamic world of this emerging genre through the creative vision of todays leading artists. "The Art of Steampunk is a visual treat that you can peruse time and time again, as well as proudly display on your coffee table for your guests to enjoy." -- NEW YORK JOURNAL OF BOOKS "The book wastes very little time getting to the good stuff..." -- WIRED MAGAZINE

É difícil encontrar um escritor que saiba rimar sentidos com palavras, poetizar o mundo sem que saia forçado. Nesta obra, contanto, isso é feito de uma forma tão natural que parece que todo o mundo f

This carefully crafted ebook: "Europe A Prophecy (Illuminated Manuscript with the Original Illustrations of William Blake)" is formatted for your eReader with a functional and detailed table of contents. Blakes illuminated books, produced from 1783-1795, are remarkable examples of complex syntheses: of form - poetry and painting; and of subject - the real with the mythical. Blake created his own mythological creations to populate his poems and paintings: concepts and ideas became personified into universal representations. He used these mythological characters to explain and act out his singular view of history. Blake divided the nature of man into four personified elements: "Los, the imagination and eventual source of redemption; Urizen, the reason and vengeful Jehovah of the Old Testament as opposed to the merciful Christ of the New; Luvah, the senses; and Tharmas, the emotions". Each of these characters has an emanation, or female "offshoot", who is commonly a negative character attempting to dominate her male counterpart. "William Blake (1757 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age.

This carefully crafted ebook: "For Children: The Gates of Paradise (Illuminated Manuscript with the Original Illustrations of William Blake)" is formatted for your eReader with a functional and detailed table of contents. First published in a limited run in 1793. He later changed the title to For the Sexes: The Gates of Paradise, and added several more drawings as well as a preface and concluding verse, publishing this version in 1818.The seventeen emblematic drawings and their commentaries depict the life of man from birth to death: passage through the four elements (water, earth, wind and fire), hatching as a child from the "mundane shell," encountering women ("What are these! Alas! the Female Martyr, Is She also the Divine Image?"), reaching for the moon of love ("I want, I want"), falling into Times Ocean. William Blake (1757 1827) was a British poet, painter, visionary mystic, and engraver, who illustrated and printed his own books. Blake proclaimed the supremacy of the imagination over the rationalism and materialism of the 18th-century. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age.

In English for the first time: The pioneering Dadaists insights and remembrances of a lifetime working side-by-side with the leading modern artists of the twentieth century. Painter, filmmaker, writer, and teacher Hans Richter (18881976) was at the center of some of the most important movements in modernism, including Expressionism, Dadaism, Constructivism, and Surrealism. In contrast to the image of the lone artist creating in isolation, Richters long and prolific career was fueled by his encounters with others. With appearances by Calder, Cocteau, Duchamp, Eisenstein, Fellini, Hoch, Kaprow, Malevich, Mondrian, Man Ray, and Tzara (to name just a few), Encounters from Dada till Today documents the collaborative aspirations of a generation of modern artists, as well as testifies to a lifetime of friendships forged in creativity. In Richters words, "the form, the content, and the occasion of each encounter commemorate the unrepeatable particular person, and give him the small eternity to which everyone is entitled."

A mitad del siglo XVIII llegan las nuevas corrientes neoclasicistas, fruto de la importación como las anteriores. El gusto versallesco de Felipe V fue sustituido por las preferencias italianas y neoclasicas de Carlos III. Es con este monarca, que reina de 1759 a 1788, con quien debemos relacionar la moda neoclasica española, al menos en su epoca de introduccion. Existen algunos ensayos o anticipaciones en tiempos de Fernando VI e incluso en los de Felipe V. Tal hemos considerado obras como el Palacio de La Granja, donde conviven y se intercalan los ultimos ecos del barroco con los primeros timbres neoclasicos.

Trained as an archaeologist and art historian and being a practising painter, Professor Galavaris has been able to relate diverse disciplines in his work, as shown by the wide range of his numerous publications. He moves from the early history of the eucharistic bread in the Orthodox Church, the dramatic impact of the Liturgy on illuminated Byzantine manuscripts, to the role of the icon in: the life of the Church, the poetry of Rainer Maria Rilke and the European painting of the 20th century. He is a leading authority on the study of the relationship between worship, Liturgy and art. Whether it is the cult of the Byzantine Emperor or the Eucharistic Liturgy, manifested in numismatics, illuminated manuscripts, icons, church lights (candles and oil lamps) - all witnesses of the creative forces of the Byzantine artist - Galavaris interests are symbols, forms and their meaning. He investigates their contribution to worship, to the visual shaping of the Liturgy and how they reveal the freedom and the mission of the artist in realizing the Unseen in everyday life. The 31 studies in the present volume, published over 40 years (5 of them appear in English for the first time) are brought together with an introduction, annotations and an index. The volume contributes essentially to our knowledge of the spirituality of the Eastern Church.

Professor Charles D. Cuttler changed from artist to art historian at New York Universitys Institute of Fine Arts, studying under distinguished teachers such as Walter Friedlaender and Erwin Panofsky. A specialist in Flemish painting, he spent the major part of his career teaching at the University of Iowa. He published numerous articles, reviews, and a well known text, Northern Painting. He lectured on Bosch on three continents, and his retirement enabled him to devote time to further research. A result is Hieronymus Bosch: Late Work. This new book presents Cuttlers discoveries on three late triptychs, a major trio of Boschs maturity: the Haywain, the Lisbon Temptation of St. Anthony, and the Garden of Earthly Delights. He presents Boschs unique view of Christ and salvation in union with hagiography, the Devotio moderna, and medieval hermeneutics, a revelation of Boschs immense erudition and overwhelming artistry. Bosch reinforced his concepts with supporting casts of animals, natural and demonic, birds, and other iconographic elements. Analysis of the Berlin painting of St. John the Evangelists apocalyptic vision of the Virgin Mary, the Madrid Seven Deadly Sins tondo, and the Vienna drawing of the Tree-Man expands our understanding of these themes. Other influences affecting Boschs art, such as whether he travelled or whether he used contemporary prints, whether he drew upon Dantes Inferno, or religious tracts, and the attitudes of his ambience are also examined. The final chapter presents the authors understanding of Bosch, his religiosity and his genius, in his time and place.