Libros de Arte moderno, página 6 de 44

El palacio de Versalles y la basílica de San Pedro del Vaticano fueron las obras señeras del Barroco, pero Europa y América –El Nuevo Mundo- albergan exquisiteces insospechadas: suntuosas bibliotecas

Este libro es el feliz resultado de un proyecto I+D del Ministerio de Economía y Competitividad [HAR2009-12585] y, a su vez, continuación de otro anterior [HUM2006-112947ARTE], que igualmente culmino con otra magna publicacion aparecida en 2010. Si entonces analizamos los origenes del naturalismo en la escultura andaluza e hispanoamericana, ahora hemos dedicado nuestros afanes a su consolidacion en el Barroco y en los mismos ambitos geograficos. Si para las artes, este periodo cultural en España se considera una verdadera Edad de Oro, en el caso de la escultura esta realidad se erige por derecho propio en algo unico e irrepetible, hasta el punto de ser uno de los factores claves de identificacion con el arte hispanico.Dos son sus grandes bloques tematicos: por un lado Andalucia y por el otro el mundo Hispanoamericano. En el primero sobresalen por su gran envergadura Granada y Sevilla. Si en la Ciudad del Darro tenemos la gran figura de Alonso de Mena, creador de uno de los talleres mas amplios de toda su historia artistica, en la ciudad hermana, por su mayor envergadura como tal urbe, aparte de su proyeccion a las Canarias e Indias, el numero de obradores, y en consecuencia de maestros, es mucho mayor, aunque casi todos deriven del genial Juan Martinez Montañes. Estos dos capitulos se complementan con otro ded...

"Beyond the Palio "is an interdisciplinary collection of essays documenting the ritual events and ceremonies of Renaissance Siena. In the past, scholarly accounts of the ceremonies that took place during Siena''s early modern history have been overshadowed by its most well-known and most studied event, the Palio; a dramatic horse race staged on the city''s central square. In this volume, each essay assumes the focus of the role of ritual events viewed in an urban context. Common themes addressed, such as the use of public space, the inclusive and exclusiveness of participants, ephemera produced for events, and the implications of ceremonial practice, explore the different components, and the importance, of ritual life within the context of the Italian Renaissance. "Beyond the Palio" is an interdisciplinary collection of essays examining the components and importance of ritual events and ceremonies in Renaissance Siena. Brings together studies based upon diverse disciplinary and methodological approaches to a common theme. Provides specific case studies and useful comparisons to well-known monographic studies of ritual in Florence and Venice. Concentrates on a single city to emphasize the important function of public rituals to life during the early modern period. Looks at both local ritual life and the ways it was presented to and viewed by those outside the city.

In this fascinating and richly illustrated book, John Henderson takes us into the Renaissance hospitals of Florence, recreating the enormous barn-like wards and exploring the lives of those who received and those who administered treatment there. Drawing on an exceptional range of visual and documentary evidence, Henderson overturns the popular view of the pre-industrial hospital as a hellish destination for the dying poor. To the contrary, hospitals of the era developed specialized, professional care; became important centers of artistic patronage; and served a large patient population, only ten percent of whom died during their stay. The book explores the civic role of Renaissance hospitals, their beautiful architecture and interior design, and their methods of medical treatment that continue to influence healthcare practices today. John Henderson is Wellcome Reader in Renaissance Medicine, School of History, Classics and Archaeology at Birkbeck College, University of London, and fellow of Wolfson College, Cambridge. Among his previous books is The Great Pox: The French Disease in Renaissance Europe, coedited with J. Arizabalaga and R. French and published by Yale University Press.

This beautifully illustrated book is the first to look so comprehensively at the role of the urban Italian house in the development of Renaissance art and culture. At Home in Renaissance Italy brings together a wide range of objects, from furniture and kitchen utensils to popular prints, jewellery and everyday dress, revealing how the homes of the upper- and middle-classes made a crucial contribution to the flowering of the visual arts in 15th- and 16th-century Italy. Drawing on a wide array of sources including letters, treatises, inventories, account-books and archaeological and conservation reports, it offers a completely fresh exploration of the fascinating domestic world of Renaissance Italy.

This intriguing book draws for the first time a complete picture of the artistic and political connections between Rubens and the Stuart court. Fiona Donovan examines the works the great Flemish artist created for English patrons, his relationships with English courtiers beginning in 1616, and his nine-month diplomatic mission to London in 162930. She focuses particular attention on the series of nine canvases that Rubens painted for the Banqueting House ceiling of Whitehall Palacea project that is considered by many to be the most significant work of art ever commissioned by the English Crown. Rubenss iconographic scheme for the Whitehall ceiling presented English courtiers with a complex pictorial language not seen before in Great Britain. Donovan explores the artists allegorical imagery and provides fresh insights into the role the work of Rubens and continental culture played in politics and society at the court of Charles I. Fiona Donovan is an art historian.

The greatest painter of eighteenth-century Italy, Giambattista Tiepolo was both a master of the vivid colors, palpable movement, and dramatic, emotional scenes that characterize baroque art, and an expert in the later rococo style, which ushered in a lighter palette and looser brushwork. In "Tiepolo: The Complete Paintings," Filippo Pedrocco provides a comprehensive examination of the paintings produced by this remarkable artist. Though Tiepolo began his career in his native city of Venice, his artistic prowess quickly brought him into contact with some of Europe''s most influential figures. Kings and queens, princes and patriarchs commissioned him to decorate the walls and ceilings of their palaces in Venice, Milan, and Wurzburg with grand canvases and frescoes. Monks, nuns, and even archbishops requested religious paintings for their churches and cathedrals in Bergamo, Vicenza, and Nymphenburg. The patronage of the rich and powerful brought Tiepolo fame and a string of masterpieces to serve as his legacy. Included in this stunning volume are all of the artist''s paintings, each illustrated and expertly discussed by the author, a specialist in Venetian painting. Experience both the large-scale decorative frescoes, many of which are still in situ and therefore not widely accessible to the general audience, and the smaller, yet equally moving altarpieces, such as the Martyrdom of Saint Agatha, executed for the famous pilgrimage church of Saint Anthony in Padua. Through Tiepolo''s masterful art the lavish opulence of eighteenth-century Italy is vividly brought to life.

En el siglo XVI, los retratos de artista no constituían ya ninguna rareza en Italia, los Países Bajos y Alemania. En España, en cambio, los primeros ejemplos importantes de este género no aparecen hasta el siglo XVII, en los casos mas tempranos. Es cuando los artistas se separan de los gremios de artesanos y se unen a los intelectuales y empiezan a hacerse retratos como muestra de que ya son gente importante, que han subido un escalon socialmente. El mas conocido es el autorretrato de Velazquez en Las Meninas. El artista se representa en este cuadro como alguien consciente de su valia, sosteniendo pinceles y paleta, en el circulo de la familia real. Sin embargo, si lo contemplamos como una obra maestra no de la pintura europea sino de la española, tendremos que preguntarnos por la tradicion del retrato español de artista. A diferencia de lo que ocurre en los paises vecinos, la historia de este genero es, ante todo, la de la valoracion de la pintura como arte liberal, valoracion no iniciada en España hasta el 1600, aproximadamente. Es, ademas, la historia de la definicion de una nueva concepcion del retrato que sento las bases para que se considerara a los pintores dignos de ser retratados. Tales son las circunstancias que nos permitiran juzgar correctamente los retratos de El Greco, Carducho, Velazquez o Murillo, contemplados e interpretados en la presente obra como testimonios del despertar de una conciencia artistica.

La importancia del retrato se desvela como una clave de interpretación de la realidad del momento histórico en el que se desarrolla. En esta obra se analizan, dentro del periodo 1781-1876, diferentes tipos de retratos: los academicos, regionalistas, e imperiales, al objeto de mostrar, a partir de la pintura, la sociedad mexicana de esta epoca.

Cet ouvrage propose une synthèse vivante et éclairante de l'oeuvre des artistes du XVe siècle communément appelés les "Primitifs français", à la fois peintres de tableaux, de retables et d'enluminures, La France connaît, entre 1430 et 1490, une période fondamentale participant pleinement du grand mouvement européen qui vit s'épanouir plus au nord, en Flandre, des artistes comme Van Eyck et Van der Weyden, et en Italie Piero della Francesca, Fra Angelico, Masaccio... Les oeuvres des maîtres ici présentés proposent en quelque sorte une synthèse originale entre les peintures flamande et italienne. A l'instar de la peinture siennoise, il s'agit moins d'une école que d'une manière de peindre qui découvrait les valeurs de lumière et d'ombre et suggérait la profondeur par le jeu du dégradé des couleurs. Alors que les Flamands s'attachaient à la minutie du détail réaliste et que les Italiens se polarisaient sur la perspective, les Français, eux, choisissaient une voie médiane, très novatrice sur le plan de la lumière. Beaucoup de ces artistes, à la fois peintres de tableaux, de retables et enlumineurs, ont adopté pour la peinture les techniques descriptives qu'ils avaient découvertes pour les miniatures. Deux pôles géographiques se dégagent : - Avignon (c'est la fameuse "école d'Avignon") et Aix : Enguerrand Quarton, Barthelémy d'Eyck, Nicolas Froment, Josse Lieferinxe, Jean Changenet, le Maître de Boulbon... - Paris et la Touraine : Jean Fouquet, Jean Hey (le Maître de Moulins)...