Synopses & Reviews
With contributions by Sarah Cartwright, Jessie McNab, J. Kenneth Moore, Eve Straussman-Pflanzer, Wendy Thompson, and Jeremy Warren
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Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.
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Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian.
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Review
and#8220;Engaging . . . generous reproductions [and] critical insights . . . Lichtenstein is presented anew through this essential survey, and his work given its rightful place at the center of modern art.and#8221; and#8212;Publishers Weekly (starred review)
Review
andldquo;This handsome book . . . is the most complete retrospective since the artistandrsquo;s death in 1997 . . . [a] comprehensive, authoritative survey of a game-changing modernist.andrdquo;andmdash;Douglas F. Smith,and#160;Library Journaland#160;
Review
Selected as a Choice Outstanding Academic Title for 2013 in theand#160;Fine Arts Category.
Review
Selected as a finalist for the 2010 Alfred H. Barr Jr., Award given by the College Art Association
Review
"A major contribution to our understanding of Renaissance art in its broader culturual context. . . . Highly informative, bringing together a wide range of objects and images as a way to better understand the ritual of love and family life in all stages and those involved in them. . . . A must-have for anyone interested in Renaissance art and private life."and#8212;Katherine A. McIver, Renaissance Quarterly
Synopsis
The first assessment of the full scope and breadth of Roy Lichtenstein's career, offering a revelatory understanding of this foremost Pop artist's work
Synopsis
A groundbreaking investigation into the evolving concept of the unfinished, from the Renaissance to the present day
This groundbreaking book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished featuresmore than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cezanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory which can be traced back to the first century has had on modern and contemporary art. The book explores the degrees to which instances of incompleteness were accidental or intentional, experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art."
Synopsis
This pioneering book explores the fascination with incompleteness in art through the eyes of the creator and the viewer.
Synopsis
The most iconic works of Roy Lichtenstein (1923and#8211;1997) are widely known, reproduced, copied, and even parodied. However, the true diversity and complexity of his oeuvre is little understood, and the full scope of his career is largely absent from the existing literature. Presenting over 130 paintings and sculptures, as well as over thirty seldom- or never-before-seen drawings and collages, this book examines all periods in Lichtenstein's career, going well beyond his brushstrokes and the classic Pop romance and war cartoon paintings that made him famous.
Roy Lichtenstein: A Retrospective features exciting new scholarship by an international team of distinguished curators, critics, and art historians. Essays by Yve-Alain Bois, Chrissie Iles, and Stephen Little, among others, give special consideration to Lichtenstein's historical influences, from Picasso and Cubism through Surrealism, Futurism, and British Pop. Contributions by James Rondeau and Sheena Wagstaff evaluate the artist's abstract work and late nudes. Complemented by photographs of the artist and his seminal exhibitions, the essays examine the various styles and subjects featured in paintings created throughout his lifetime. The inclusion of a complete chronology of Lichtenstein's life and workand#8212;compiled by Clare Bell of the Lichtenstein Foundationand#8212;makes this retrospective the most authoritative publication on the artist since his death in 1997.
Synopsis
The Accademia Carrara of Bergamo is one of Italy's premier paintings galleries but remains too little known outside the country. The temporary closure and restoriation of its galleries, housed in a grand neoclassical building in the North Italian city of Bergamo, has made possible a welcome collaboration with The Metropolitan Museum of Art, bringing to New York fifteen of the Carrara's masterpieces by Venetian and North Italian painters of the fifteenth and sixteenth centuries, including Giovanni Bellini's haunting
Pietand#224; with the Virgin and Saint John, the predella panels from Lorenzo Lotto's celebrated Martinengo Altarpiece, and
Orpheus and Eurydice, an ambitious composition fromTitian's early career.
The exhibition and accompanyting publication illuminate not only the quality of the Accademia Carrara's holdings but also the unique position the museum occupies in the history of art, collecting, and connoisseurship in the northern Italian regions of Lombardy and the Veneto. As the custodian of three superlative, formerly private collectionsand#8212;those of the Bergamo native Count Giacomo Carrara (1714and#8211;1796), who founded the institution in the late eighteenth century, Guglielmo Lochis (1789and#8211;1859), and the great connoisseur Giovanni Morelli (1826and#8211;1891)and#8212;the Accademia Carrara has served to transform the collecting practices and artistic pursuits of three individuals into a reflection of the cultural history of Bergamo, a civic-minded vision whose influence extends far beyond the city's borders.
About the Author
Andrea Bayer is Curator in the Department of European Paintings at The Metropolitan Museum of Art, New York. Maria Cristina Rodeschini is Head of theand#160;Accademia Carrara, and Galleria d'Arte Moderna e Contemporanea di Bergamo, Director.