Libros de Historia de la pintura y la escultura, página 36 de 291

Highlights antiker Kunst auf der Berliner Museumsinsel Die Meistbesuchten Museen Deutschlands (1,4 Millionen Besucher im Jahr)- neu Fotografiert und Prasentiert Verlag Philipp von Zabern - Ein Partner der Berliner Museumsinsel Das Pergamonmuseum ist auf Grund seiner einzigartigen Kunstwerke das meist besuchte Museum in Berlin. Umfangreiche Renovierungsarbeiten in den vergangenen Jahren lassen nicht nur den frisch restaurierten Pergamonaltar in neuem Licht erscheinen. Neben den absoluten Glanzstucken des Alten Museums und des Pergamonmuseums zeigt der Band zahlreiche antike Skulpturen, die nun erstmals seit dem Zweiten Weltkrieg wieder zu sehen sind. Ein Rundgang durch die griechische und romische Welt, fur den fast alle Objekte neu fotografiert und die Katalogtexte auf den Stand der aktuellen Forschung gebracht und neu verfat wurden.

Clive L. LloydWhilst many books have been published about war, the role of the prisoner of war has been largely ignored or paid scant attention. This book, along with the author's other title - A History of Napoleonic and American Prisoners of War 1756-1816: Hulk, Depot and Parole - aims to correct this imbalance, and is the result of his quest over thirty years into this almost-forgotten field of history. Illustrated here is an extensive selection of items from museums around the world and the author's own collection - one of the largest private collections of prisoner of war artefacts in existence - revealing the incredible skills of these imprisoned craftsmen. The items - delicate, intricate and highly detailed - include boxes, toys and automata made from bone, straw or paper, as well as paintings by artists whose work is now much in demand. The creation of these pieces seems even more remarkable when the conditions under which they would have been made and the extreme limitations the prisoners would have e ...............

Visi�n y retratos del cuerpo femenino del siglo XX

Literature is ostensibly a sequential and thus temporal medium, and painting a static and spatial one; yet writers like George Sand and Emile Zola have attempted repeatedly to represent visual and spatial phenomena in literary texts, just as painters like Eugene Delacroix and Claude Monet have sought consistently to capture effects of time and movement on canvas. The incorporation of elements from one artistic medium into another creates a dynamic interplay of image and ideology, both between art forms and within individual texts and paintings, which constitutes the crux of this book. Each chapter involves the detailed analysis of a text and a painting, related through topic, theme, and technique.By juxtaposing the works of ten major writers and ten painters of comparable stature, the book explores the various modalities and layers of meaning in nineteenth-century French art, both verbal and visual, and proposes ways of reading the ambivalent artifacts of "modernity." William J. Berg is Professor of French at the University of Wisconsin-Madison.

Why do people attack monuments and other public objects charged with authority by the societies that produced them? What do open assaults on images and artworks mean? Iconoclasm, the principled destruction of images, has recurred throughout human history as theory and practice. This book contains seven historical studies of the changing causes and meanings of iconoclasm and the radical transformations in the function of images it has brought about in societies around the world, from Ancient Egypt to Islamic India and Revolutionary Mexico, as well as Medieval and Reformation Europe. Scholars of art history, history and archaeology explore shifting definitions of art and the forms of representation in delineating varied forms of ''iconoclasm''.

Winner of the 2008 Bainton Prize in History given by the Sixteenth Century Society and Conference. Selected by Choice magazine as an Outstanding Academic Title from 2008. Luxurious, beautiful, and portable, tapestry was the pre-eminent art form of the Tudor court. Henry VIII amassed an unrivaled collection over the course of his reign, and the author weaves the history of this magnificent collection into the life of its owner with an engaging narrative style. Now largely dispersed or destroyed, Henrys extensive inventory is here reassembled and reveals how, through tapestry, Henry identified himself with historic, religious, and mythological figures, putting England in dialogueand competitionwith the leading courts of Early Modern Europe while promoting his own religious and political agendas at home. Campbells original account sheds new light on Tudor political and artistic culture and the courts response to Renaissance aesthetic ideals. Sumptuously illustrated with newly commissioned photographs, this stunning re-creation of Europes greatest tapestry collection challenges the predominantly text-driven histories of the period and offers a fascinating new perspective on the life of Henry VIII. Thomas P. Campbell is Curator in the Department of European Sculpture and Decorative Arts and Supervising Curator of the Antonio Ratti Textile Center at The Metropolitan Museum of Art. He is the principal author of Tapestry in the Renaissance: Art and Magnificence (2002) and editor of Tapestry in the Baroque: Threads of Splendor (see page 29).

Il volume, edito per la Biblioteca d''arte di Silvana Editoriale, rappresenta un affettuoso e sincero omaggio a Marcel Roethlisberger, professore al Dipartimento di Storia dell''arte dell''Universita di Ginevra per piu di trent''anni, da parte di alcuni amici, allievi e colleghi del mondo accademico e museale internazionale. Profondo conoscitore dell''arte europea dal Rinascimento ai giorni nostri, Marcel Roethlisberger ha compiuto la sua formazione a Berna, Colonia, Parigi, Firenze, Pisa et Londra. Docente alla Yale University, all''Universita di Toronto, e, prima di approdare a Ginevra, presso l''Universita della California-Los Angeles, si distinto per i suoi studi su Claude Lorrain, Abraham Bloemaert, Jean-Etienne Liotard, Jacopo Bellini, Bartholomeus Breenbergh, Pietro Tempesta. Il volume costitisce dunque una miscellanea di ampio respiro, in cui trovano posto contributi critici, proposti in lingua originale, che spaziano nel vasto campo dell''arte e della musicologia - altro settore di interesse di Roethlisberger -, offrendo significativi spunti di riflessione per gli amanti della materia. Completa il volume una bibliografia relativa alle pubblicazioni di Roethlisberger.

A study of the ways landscape was perceived in nineteenth-century Britain and France, this book draws on evidence from poetry, landscape gardens, spectacular public entertainments, novels and scientific works as well as paintings in order to develop its basic premise that landscape and the processes of perceiving it cannot be separated. Vision embraces panoramic seeing from high places, but also the seeing of ghosts and spectres when madness and hallucination impinge upon landscape. The rise of geology and the spread of empires upset the existing comfortable orders of comprehension of landscape. Reverie and imagination produced powerful interpretive actions, while landscape in French culture proved central to the rejection of conservative classicism in favour of perceptual questioning of experience. The experience of subjectivity proved central to the perception of landscape while the visual culture of landscape became of paramount importance to modernity during the period in question.

The rise of the mendicant orders in the later Middle Ages coincided with rapid and dramatic shifts in the visual arts. The mendicants were prolific patrons, relying on artworks to instruct and impress their diverse lay congregations. Churches and chapels were built, and new images and iconographies developed to propagate mendicant cults. But how should the two phenomena be related? How much were these orders actively responsible for artistic change, and how much did they simply benefit from it? To explore these questions, Art and the Augustinian Order in Early Renaissance Italy looks at art in the formative period of the Augustinian Hermits, an order with a particularly difficult relation to art. As a first detailed study of visual culture in the Augustinian order, this book will be a basic resource, making available previously inaccessible material, discussing both well-known and more neglected artworks, and engaging with fundamental methodological questions for pre-modern art and church history, from the creation of religious iconographies to the role of gender in art.