Libros de Historia de la pintura y la escultura, página 38 de 290

Catálogo de la exposición itinerante programada para 1991. Presenta dibujos, grabados y otras técnicas de estampación.

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.

Paul Mellon (1907--1999) was an unparalleled collector of British art. His collection, now at Yale in the museum and study center he founded to house it, rivals those in Britains national museums and is unquestionably the most comprehensive representation of British art held outside of the United Kingdom. This book and the exhibition that it accompanies celebrate the centenary of his birth. Five introductory essays examine Mellons extraordinary collecting activity, as well as his role in creating both the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art in London as gifts to his alma mater (Yale 1929). A lavishly illustrated catalogue section showcases 148 of the most exquisite and important paintings, watercolors, drawings, prints, sculpture, rare books, and manuscript material in the Yale Centers collection, including major works by Thomas Gainsborough, Joshua Reynolds, George Stubbs, John Constable, and J. M. W. Turner. Brian Allen is director of studies at the Paul Mellon Centre for Studies in British Art. John Baskett is an independent scholar and former art advisor to Paul Mellon. His is author of The Horse in Art (Yale). Jules Prown, Paul Mellon Professor Emeritus of the History of Art, Yale University, was the founding director of the Yale Center for British Art, 196876. William Reese is an antiquarian bookseller based in New Haven. Duncan Robinson is director of the Fitzwilliam Museum and Master of Magdalen College, Cambridge University.

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''.

Giuseppe Pallanti Mona Lisa, comme l'appellent les Anglais et les Américains, ou La Joconde, comme l'appellent les Français et les Italiens, a déjà fait couler des fleuves d'encre proverbiaux. On con

John HannavyThe Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global - an important 'first' in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being 'a solution in search of a problem' when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.

The Robert Lehman Collection at The Metropolitan Museum of Art houses one of the finest collections of frames in the world. Robert Lehman''s interest in picture frames set him apart from other collectors of his era. The collection he bequeathed to the Museum includes nearly four hundred frames, most of them Italian and French and dating from the fourteenth to the eighteenth century. Although he bought most of these frames to display his paintings and drawings, a number of them could only have been acquired as works of art in their own right. Like nearly all other European frames, the ones Robert Lehman collected have now been taken entirely out of context, the exception being the engaged moldings on early Italian panels. Most of the Italian frames, both the engaged moldings and the small cassette and astragal frames they inspired, probably hung in palazzi; the finest of the French frames were originally displayed among the gilt furniture and heavy fabrics that decorated luxurious northern European rooms. Using the documentary evidence that survives and his wide knowledge of comparable examples, Timothy Newbery has attempted to place each of these frames on the picture and in the interior for which it was intended, and for each he has provided a profile drawing that is a key to its design, origin, date, and application.