Libros de Historia de la pintura y la escultura, página 39 de 291

Las singulares narraciones del Génesis han cautivado a los artistas de todos los tiempos. Es difícil encontrar un pintor que no se haya dejado atrapar por esas imágenes deslumbrantes que van surgiendo, engarzadas en lenguaje de tintes miticos. El texto del Genesis pertenece a la Biblia del Oso, publicada en Basilea en 1569, la primera traduccion completa de la Biblia al castellano, realizada por el religiosos español Casiodoro de Reyna.

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.

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.

1000 great works of art from all periods and regions in the worldFollow-up to Phaidons phenomenally successful The Art Book An accessible, fun and informative compendium of world art, that offers an original and fresh way of looking at the whole of art history from 28,000 BC to the present day Debunks art historical classifications and hierarchies by presenting 1,000 masterworks of art in simple chronological order demonstrating what was being created all over the globe at the same time Only here can you find the Venus de Milo next to a mural from the Mayan civilization, Velasquez Las Meninas next to a jade wine cup made for the Shah of India and Picasso's Demoiselles d'Avignon side by side with door panels from a Nigerian palace Each work has been chosen for its unique place in the history of art, and as a representative example of the art of its culture By juxtaposing works of art from different cultures throughout time, this is the first book to offer a balanced appraisal of world art history, revealing the huge diversity, as well as the similarity of mans artistic achievements Each entry includes a full-page, colour image of the work and a concise descriptive text that sets the work in context, explaining its contribution to the development of art and the medium in which it was created A comprehensive index, illustrated timelines and a glossary of terms and movements make this book an invaluable reference tool and teaching resource

Reinhold BaumstarkDie Zeitgenossen ruhmten Parmigianino (1503-1540), einen der herausragenden Kunstler der Hochrenaissance, als neuen Raffael. Seine mit technischer Raffinesse ausgefuhrten Kompositionen prasentieren graziose Figuren von entruckter Schonheit in kuhl leuchtender Farbigkeit. Immer wieder widmete sich der in Parma, Rom und Bologna tatige Meister dem Thema der Maria mit Kind. Gut die Halfte seiner uns erhaltenen Gemalde sind Madonnenbilder - private Andachtsbilder ebenso wie groe Altartafeln. Die Alte Pinakothek bewahrt ein kostbares, kleines Madonnenbild, das zum altesten Bestand der Wittelsbachischen Sammlungen zahlt und stets als Werk Parmigianinos galt. Im 19. Jahrhundert wurde es seinem Schuler, Girolamo Mazzola Bedoli, zugewiesen. Neue, hier erstmals publizierte Forschungen belegen jedoch, dass die Zuschreibung an den Meister berechtigt ist. Fachautoren diskutieren ausfuhrlich die Autorschaftsfrage, die Herkunft und die Maltechnik des Munchner Bildes und erortern seine Stellung im Gesamtwerk Parmigianinos.

Expanding interdisciplinary investigations into gender and material culture, Katherine A. McIver here adds a new dimension to Renaissance patronage studies by considering domestic art the decoration of the domestic interior as opposed to patronage of the fine arts (painting, sculpture and architecture). Taking a multidimensional approach, McIver looks at women as collectors of precious material goods, as organizers of the early modern home, and as decorators of its interior. By analyzing the inventories of women''s possessions, McIver considers the wide range of domestic objects that women owned, such as painted and inlaid chests, painted wall panels, tapestries, fine fabrics for wall and bed hangings, and elaborate jewelry (pendant earrings, brooches, garlands for the hair, necklaces and rings) as well as personal devotional objects. Considering all forms of patronage opportunities open to women, she evaluates their role in commissioning and utilizing works of art and architecture as a means of negotiating power in the court setting, in the process offering fresh insights into their lives, limitations, and the possibilities open to them as patrons. Using her subjects'' financial records to track their sources of income and the circumstances under which it was spent, McIver thereby also provides insights into issues of Renaissance women''s economic rights and responsibilities. The primary focus on the lives and patronage patterns of three relatively unknown women, Laura Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina, provides a new model for understanding what women bought, displayed, collected and commissioned. By moving beyond the traditional artistic centers of Florence, Venice and Rome, analyzing instead women''s artistic patronage in the feudal courts around Parma and Piacenza during the sixteenth century, McIver nuances our understanding of women''s position and power both in and out of the home. Carefully integrating extensive archival research with a set of important critical inquiries, McIver offers up a well-balanced picture of domestic space, subject and object in and against the conventions of Italian Renaissance art history. By moving beyond the usual artistic centers of Florence, Venice, and Rome, McIver nuances our understanding of women''s position and power both in

Wayne E. FranitsIn the hush of early morning, a dutiful mother butters bread for her young son, who patiently stands at her side. This splendid painting captures a trivial moment in a family's daily routine and makes it almost sacrosanct. A Woman Preparing Bread and Butter for a Boy was executed by the Dutch painter Pieter de Hooch (1629-1684) between 1661 and 1663. The J. Paul Getty Museum's canvas is one of the artist's many pictures depicting women and children engaged in daily activities. This book examines the painting in relation to the artist's life and work, exploring his stylistic development and his complex relationship to other painters in the Dutch Republic. The author places the subject matter of the painting within the broader context of seventeenth-century Dutch concepts of domesticity and child rearing and ties it to social and cultural developments in the Netherlands during the second half of the seventeenth century.

Nach einer Lehrzeit bei Rembrandt in Amsterdam suchte der Maler Auftrage an den furstlichen Hofen in den vom Dreiigjahrigen Krieg verwusteten Landern: uber Stuttgart, 1656, Prag, Dresden,1659-60, Wien, Ungarn, Salzburg kam er an den Hof des Furstbischofs von Freising, wo er als Hofmaler angestellt wurde, aber kaum verheiratet und sesshaft geworden, jung starb, aus Gram uber einen verlorenen Kunstlerwettbewerb, wie Joachim Sandrart berichtet. Das Freisinger Dommuseum wird mit dieser ersten monographischen Ausstellung den genialen Maler der Offentlichkeit vorstellen und so ein neues Licht auf die deutsche Kunst des Barock werfen.

The Metropolitan Museums extraordinary holdings of Dutch paintings include works by Frans Hals, Rembrandt van Rijn, Johannes Vermeer, Pieter de Hooch, Gerard ter Borch, and others. This lively and accessible account traces the formation of the Metropolitans collection from its beginnings in 1871 to the present day. The book discusses the key role of prominent philanthropists Henry G. Marquand, Henry O. and Louisine Havemeyer, Collis Potter and Arabella Huntington, Benjamin Altman, Michael Friedsam, Jules Bache, Robert Lehman, Jack and Belle Linsky, and Frits and Rita Markus. Esmee Quodbach is research assistant in the Department of European Paintings at The Metropolitan Museum of Art .