Libros de Pintores y escultores, página 56 de 533

This new monograph explores the career of Jean-Auguste-Dominique Ingres (17801867), one of the most important artists of the nineteenth-century Neoclassical period. The lifetime of the painter spans one of the most tumultuous periods in the history of the artists native France. Born less than nine years before the storming of the Bastille, the painter would eventually bear witness to three revolutions and the rise and fall (and eventual resurrection) of a rapid succession of monarchical, republican, and imperial regimes. Like many his contemporaries, Ingres considered history paintings to be the most exalted form of art, with portraiture a lesser genre. Even during his lifetime, however, tastes were changing, and while icons like his Turkish Bath and the Grande Odalisque are still highly regarded, Ingres is most admired today for his innovative and vivid portraits, which transcend time in their physical and psychological beauty. In this insightful and unbiased survey, Andrew Shelton provides the reader with a comprehensive portrait of the seventy-year career of this most celebrated artist and discusses all of the artists key paintings and drawings.

En vista de la maraña de enigmas, Dalí ha emergido para conquistar el mundo de la pintura, y de esta lucha nos ha traido algo más valioso que el oro: ha abierto nuevos horizontes ante nosotros, pero sobre todo nos ha brindado algo mas tangible, Salvador Dali.

Charts Lucian Freud's works on paper, including the etchings, over his career. This book includes his early work, the sketches in preparation for painting Large Interior W11 (after Watteau) (1983), the sketches of the completed painting in the studio and the studies of his mother. It offers insights into the work of Freud. Una bibliografia de los trabajos de Lucian Freud sobre papel, incluyendo los aguafuertes, a lo largo de su carrera. Desde sus trabajos mas tempranos, los bocetos de preparacion para la pintura de "Large Interior W11 (after Watteau)" (1983), los bocetos de la pintura completa en el estudio y los estudios de su madre,

Alvarez, Marina ; Dennya Matos ; Mariano Navarro

La piu celebre delle forme capricciose della cultura occidentale e quella che prende il nome di grottesca. Si tratta di un genere che nasce nellarte romana, i cui temi principali sono tralci vegetali, candelabri, figure umane, fantastiche e mostruose, tutti impaginati senza unapparente logica narrativa e spaziale. Se nel Medioevo, furono ibridi mostruosi e droleries a mantenere un ruolo di rilievo, la riscoperta della cultura antica nel XV secolo porto a un recupero sempre piu deciso delle forme ornamentali classiche. Una spinta fondamentale venne dalla scoperta della Domus Aurea, attorno agli anni Ottanta del Quattrocento. Il sontuoso palazzo neroniano giaceva sepolto da secoli e i primi esploratori che si calarono al suo interno ne ricevettero limpressione di trovarsi in una serie di grotte. È questo il motivo per cui come raccontava Benvenuto Cellini le particolari decorazioni che vi si trovavano vennero chiamate grottesche. Le grottesche incontrarono uno straordinario successo, accentuato dal loro impiego nelle Logge Vaticane, realizzate verso il 1518 da Raffaello. Da questo momento, la grottesca divenne una componente ineludibile delle decorazioni di edifici religiosi e profani, comparendo inoltre su ceramiche, vesti, arazzi e giungendo a costituire un campo di specializzazione per molti pittori.

Catálogo de exposición. Centro José Guerrero, del 16 de octubre de 2008 al 11 de febrero de 2009 Real Academia de España en Roma, del 5 de febrero al 29 de marzo del 2009.

Gordon Home

Monografie met een introductie op het werk van Utagawa Hiroshige (1797-1858) en een overzicht van de carriere van deze laatste grote kunstenaar van de Japanse oekiyo-e houtsnede. Deze drukkunst was bekend vanaf de zeventiende eeuw, maar in de jaren dertig van de negentiende eeuw werd - mede door Hiroshige - het landschap het thema. Dit resulteerde in prentseries over stadsgezichten, reisimpressies en afbeeldingen van de jaargetijden. Er is momenteel veel aandacht voor Japanse prentkunst, mede door de invloed die deze op Van Gogh had. Eerder is over delen van Hiroshige's werk al in het Engels gepubliceerd: de serie van Hiroshige's journey in the 60-odd provinces door Marije Jansen (2004)* en de heruitgave van de catalogus van Japanse prentkunst uit 1991 (Van Gogh Museum), waarin de invloed van Hiroshige op Van Gogh aan bod komt. In 2008 verscheen bij Taschen een uitgave over de prentserie '100 beroemde voorstellingen van Edo'. De hier besproken uitgave is in het Nederlands en geeft uitleg over de techniek van de houtdruk en leven en werk van Hiroshige. Prachtige introductie met veel kleurenillustraties. - Wim Visscher

Muestra en toda su grandeza y genialidad el universo creativo de Francisco de Goya desde 1770-1771. Un universo forjado en Zaragoza y Madrid, pero, sobre todo, en la caput mundi que fue Roma en la se

Starker than Velázquez and more ascetic than El Greco, Francisco Zurbarán (1598-1664) is easily among the finest of seventeenth-century Spanish painters. Apprenticed in Seville, he quickly gravitated toward the use of chiaroscuro, possibly having seen paintings by Caravaggio there: he was later to become known as the Spanish Caravaggio. But Zurbarans temperament, as it is realized in his painting, appears more melancholy, and therefore less foreboding, than Caravaggios, and his religious subjects are almost exclusively Christian. He developed a characteristic image repertoire around monasticism and martyrs and made a speciality of the Carthusians, whose white robes he took evident pleasure in depicting. His best-known work may be his 1631 Apotheosis of Saint Thomas Aquinas, now housed in the Seville Museum. It was around this time that Zurbarans star reached its peak, as he was appointed court painter to Philip IV. Later, toward the end of his life, Zurbarans harsh chiaroscuro style fell from favor, but his reputation was restored in the twentieth century, in part through the concerns of Cubism and its attraction to precedents for an emphatic plasticity. In this monograph, illustrated with 114 color plates, Santiago Alcolea, a scholar of seventeenth-century Spanish art and the author of previous books on Velazquez and El Greco, provides us with an overview of Zurbarans artistic career, dividing it into four stylistic phases and reproposing his relevance for our times.