Synopses & Reviews
Distinguished by his brilliantly energetic brushwork, Giovanni Boldini (1842and#150;1931) was one of the most prominent Italian artists of the late 19th century. Still, he has remained little known beyond his native country. This beautiful book is the first published on Boldini in English in a generation and accompanies the first major exhibition of his works outside of Europe.
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Born in Ferrara, Boldini moved to Paris in 1871, where he lived for the rest of his life. This important volume focuses on his work from 1871 to 1886, which reflects the influence of his contemporariesand#151;Degas, Manet, Caillebotte, Meissonier, and Fortuny, among others. It features Boldiniand#8217;s fanciful paintings made for the art market and depictions of the city around himand#151;from the bustling streets and squares to cafand#233;s, theaters, and concert hallsand#151;as well as paintings of friends and models, and a selection of later portraits that established him as one of the quintessential portraitists of the Belle and#201;poque.
Review
Winner of the 2012 George Wittenborn Memorial Book Award presented by Art Libraries Society of North America.
Review
and#8220;The present catalogue, a monumental two-volume publication,andnbsp;[brings] a seriousness and thoroughness that should set a standard for other museums for years to come. . .This catalogue represents a monumental achievement which, in an ideal world, would serve as a model for all such publications of its type; the expense and sheer amount of work such an undertaking requires unfortunately means that it will probably find fewer imitators than it ought. Nevertheless, it is essential reading for all students of the period, from scholars of Impressionism and the Barbizon school to those whose interest in the nineteenth century is all-encompassing.and#8221;and#8212;Rachel Sloan, Burlington Magazine
Synopsis
The core of the Clark's collection was assembled by Robert Sterling Clark (1877andndash;1956), who once declared, andquot;I like all kinds of art if it is good of its kind.andquot; This monumental, two-volume publication is the first fully documented catalogue of the Institute's collection of European paintings. The quality of this collection reflects the founder's philosophy in its inclusion of masterpieces as diverse as William-Adolphe Bouguereau's Nymphs and Satyr (1873) and Pierre-Auguste Renoir's A Box at the Theater (1880); works by academic painters such as Jean-Landeacute;on Gandeacute;randocirc;me; Barbizon painters such as Camille Corot and Jean-Franandccedil;ois Millet; and the Impressionists Camille Pissarro and Edgar Degas. More recent acquisitions include Thandeacute;odore Rousseau's Farm in the Landes (1844andndash;67) and Claude Monet's Rouen Cathedral (1894), and works by John Constable and J. M. W. Turner.
Published on the 100th anniversary of Sterling Clark's first purchase of a European painting, these handsome volumes document each of the 374 paintings in the collection, with essays by prominent scholars, detailed bibliographic and art historical apparatus, technical notes, and over 450 color illustrations.
Synopsis
Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding
Combines. Later, in his Cardboard series (1971--72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near monochrome, and commenting in subtle ways on the materialism and disposability of modern life. This book is the first to focus exclusively on Rauschenbergand#8217;s rarely seen
Cardboards, along with related works from his Made in Tampa Clay, Cardbirds, Egyptian, and Venetian series.
Approximately eighty-eight Cardboards and related sculptural pieces, many from the artistand#8217;s personal collection, are reproduced in the book. Full provenance and exhibition historyand#160;are provided for each work, along with a complete bibliography. In addition, distinguished scholar Yve-Alain Bois offers an insightful essayand#160;that discussesand#160;the Cardboards and situates these lesser-known but critical pieces within the context of Rauschenbergand#8217;s long and creative career.
Synopsis
Ellsworth Kelly is one of this generationand#8217;s most important artists. Over the course of his career, Kelly has developed a special relationship with the city of Dallas and its art community, and major holdings of his work in all media can be found there. This handsomely designed book brings together works from the Dallas Museum of Art and private collections to present a select overview of his career, ranging from a youthful 1947 self-portrait drawing to a towering wood sculpture from the mid-1990s.
Ellsworth Kelly in Dallas offers a succinct survey of Kellyand#8217;s achievements in translating the visual world of the everyday into commanding paintings, sculpture, and works on paperand#151;all of which demonstrate the artistand#8217;s groundbreaking use of form, line, color, and volume. Included are an introduction and essays on key works by Charles Wylie, Yve-Alain Bois, Robert Storr, and Wood Roberdeau. Together the images and text document one of the most consistently inventive and sustained careers of any American artist.
Synopsis
This book pairs drawings and paintings of the French landscapeand#160;by Ellsworth Kelly with paintings of the same subject by Claude Monet, examining the influence of Monet on the renowned abstract artist.
Synopsis
Early in his career, Ellsworth Kelly (b. 1923) spent six formative years (1948and#150;54) in France, where he discovered the late work of the Impressionist painter Claude Monet (1840and#150;1926). Visits to the remote island of Belle-and#206;le off the coast of Brittany in 1949 and a visit to Monetand#8217;s house and studio in Giverny in 1952 inspired a series of drawings, as well as Kellyand#8217;s first monochrome work, Tableau Vert. Kelly returned to France on subsequent journeys in 1965, 2000, and 2005, visiting Belle-and#206;le again and Provence, continuing to draw motifs depicted by Monet, as well as by Cand#233;zanne and Matisse. This publication includes two paintings and eighteen unpublished drawings by Kelly, bringing them together with nine paintings by Monet from his Belle-and#206;le series and from his garden in Giverny. All the works have been selected by Ellsworth Kelly himself. Essays by Yve-Alain Bois and Sarah Lees explore the significance of Kellyand#8217;s work from this key moment in his career and the significance of the later paintings of Monet.and#160;
About the Author
Charles Wylie is the Lupe Murchison Curator of Contemporary Art, Dallas Museum of Art; John R. Lane is the director of the Dallas Museum of Art; Yve-Alain Bois is Joseph Pulitzer Professor Modern Art and Chair, Department of History of Art and Architecture, Harvard University; Robert Storr is Rosalee Solow Professor of Modern Art, Institute of Fine Arts, New York University; and Wood Roberdeau is on staff in the contemporary art department at the Dallas Museum of Art.