Architecture and Anarchism documents and illustrates 60 projects, past and present, that key into a libertarian ethos and desire for diverse self-organised ways of building.
They are what this book calls an 'anarchist' architecture, that is, forms of design and building inspired by the core values of most forms of anarchism since its emergence as a distinct kind of socialist politics in the 19th century. These are autonomy, voluntary association, mutual aid, and self-organisation through direct democracy.
As the book shows, there are a vast range of architectural projects that can been seen to refl ect some or all of these values, whether they are acknowledged as specifi cally anarchist or otherwise.
Anarchist values are evident in projects that grow out of romantic notions of escape - from isolated cabins to intentional communities. Yet, in contrast, they also manifest in direct action - occupations or protests that produce micro-countercommunities.
Artists also produce anarchist architecture - intimations of much freer forms of building cut loose from the demands of moneyed clients; so do architects and planners who want to involve users in a process normally restricted to an elite few. Others also imagine new social realities through speculative proposals. Finally, building without authority is, for some, a necessity - the thousands of migrants denied their right to become citizens, even as they have to live somewhere; or the unhoused of otherwise affl uent cities forced to build improvised homes for themselves.
The result is to signifi cantly broaden existing ideas about what might constitute anarchism in architecture and also to argue strongly for its nurturing in the built environment. Understood in this way, anarchism off ers a powerful way of reconceptualising architecture as an emancipatory, inclusive, ecological and egalitarian practice.
Wayne Thiebaud (1920-2021) is considered one of the greatest and most original American artists of the twentieth century. This richly illustrated and scholarly catalogue accompanies the first-ever museum exhibition of his work in the United Kingdom, opening at The Courtauld Gallery, London in October 2025. The exhibition focuses on one of the most significant aspects of his career: his late 1950s and 1960s paintings and drawings of the (mainly) edible delights of modern America, from cakes and ice creams to burgers and gumballs.
Wayne Thiebaud: American Still Life will showcase the ways in which Thiebaud recast the genre of still life for the modern age and created powerful images of American consumer culture in the years of post-war expansion and optimism. It will chart the moment when Thiebaud found his artistic voice, creating a highly original way of painting and drawing in order to express his vision of modern American consumer culture, which he considered to be a vital subject for contemporary painting.
Thiebaud saw his work as continuing the radical legacy of earlier still-life paintings by Chardin, Manet, Cézanne and others. He believed in the importance of commonplace objects that might otherwise be overlooked or considered kitsch. His work turns hot dogs, lemon meringue pies and glossy cream cakes into the stuff of profound modern painting.
The exhibition and catalogue will feature rarely lent works from private collections and major museum collections in the USA, including the National Gallery of Art, Washington, and the Whitney Museum of American Art in New York, as well as the Wayne Thiebaud Foundation.
La Collection Courtauld. Le parti de l'impressionnisme accompagne l'exposition majeure du printemps 2019 à la Fondation Louis Vuitton à Paris qui mettra en lumière l'industriel et mécène anglais Samuel Courtauld (1876-1947), l'un des plus importants collectionneurs du XXe siècle. Le catalogue et l'exposition présenteront son extraordinaire collection d'art impressionniste, qui n'a pas été vue à Paris depuis plus de soixante ans.
Courtauld constitua l'une des plus importantes collections d'art impressionniste au monde. Au cours des années 1920, il rassembla un ensemble exceptionnel de tableaux de tous les plus importants peintres impressionnistes, du chef d'oeuvre de jeunesse de Renoir, La Loge, à la dernière grande toile de Manet, l'emblématique Un Bar aux Folies-Bergère. Sa collection comprenait également Nevermore, le grand nu tahitien de Gauguin, et l'un des plus célèbres tableaux de Van Gogh, Autoportrait à l'oreille bandée, dont ce sera la première présentation à Paris depuis l'exposition organisée en 1955 au musée de l'Orangerie.
This monumental book is the first monograph devoted to the Sienese artist Lorenzo di Pietro, known as Vecchietta (1410-1480).
A painter, sculptor, architect and goldsmith, Vecchietta is a towering figure in the history of Sienese art and, as this book demonstrates, a central protagonist of the Early Renaissance in Italy. His diverse oeuvre across multiple media provides a prism through which to re-evaluate the art of Quattrocento Siena, traditionally misinterpreted as ancillary to Florence.
Vecchietta was one of the few Italian artists of the period to paint an independent self-portrait and the first to design a funerary chapel for himself. He signed and dated most of his work, presenting himself as a sculptor on his paintings and a painter on his sculptures. He is credited with innovations in style and technique that paved the way for the next generation of Sienese artists, most of whom trained in his workshop.
The first monograph on the artist since a 1937 booklet by Giorgio Vigni, the volume subverts traditional expectations about the monograph itself to show how a different art history, capable of capturing the complexity of polymaths like Vecchietta, is not only possible, but necessary.
Published to accompany the first museum exhibition of scenic daguerreotypes, this beautiful catalogue showcases a private collection of extremely rare outdoor views, offering a unique insight into mid-nineteenth century America as it started to become an industrial power. The catalogue's atmospheric illustrations capture the rich tonal nuance of daguerreotypes, reclaiming their rightful place in the American visual arts of the period.
Scenic daguerreotypes, made over 175 years ago, are extremely rare today. Named after Louis Daguerre (1787-1851), daguerreotypes are the first widely practised type of photography, quite unlike any other: the result it is both an image and object, a unique vestige of its time and place. The selection presented here is almost entirely drawn from the private collection of American collector Greg French, who built it over a 40-year period into probably the largest of its kind. The types of scenery captured in these beautiful outdoor views are not limited to traditional landscapes: they include store fronts, hotels, cityscapes and cemeteries; rivers, waterfalls, ships and shipyards; schools, churches, houses and backyards; landscapes, farms, factories and gold mines; but also daguerreotype studios, railroads, marching bands and more. Together, these images build the fascinating picture of a young country not yet invaded by asphalt and concrete, metal poles, wires, cell-phone towers, traffic signs and cars.
Some noteworthy highlights include a Cincinnati street scene by the African American daguerreotypist James Presley Ball, his only known surviving outdoor view; the only outdoor daguerreotype taken by a woman, Charlotte Prosch; a California gold-mining scene by George H. Johnson; and a rare view of 1850 San Francisco taken from Telegraph Hill. The selection also includes what can be considered the earliest pure landscape photograph in America, a whole plate daguerreotype made in 1840-41 by Samuel Bemis.
The original aim of many of these views is not always clear. Though many were probably taken for documentary or commercial purposes, their complexity and mystery warrant more careful, in-depth observation. What appear at first glance to be simple records of places or buildings are, in fact, windows into the daguerreotypists' unique visual perspective as they explored this innovative technique. The daguerrean process was central to the finished image, and the results are a significant Nativist phenomenon in the American visual arts, well worthy of being considered along with the paintings and sculpture of the 1840s and '50s.
With an essay by the preeminent daguerrean scholar Grant Romer and notes on the plates by the exhibition curator Allen Phillips, the catalogue aims to bring about an advanced understanding of this significant manifestation of nationality in the pictorial arts. Despite the dearth of surviving evidence, the rare and splendid pictures presented here illustrate how the daguerreotype process creates works that are amazing in their delicately long tonal range. They can be tonally soft and contrasty as well as optically soft and sharp at the same time. To showcase this, the daguerreotypes have been reproduced with great care: they have not been digitally improved and are shown with all the defects of production and age; tarnish, spots and scratches are not obfuscated. Much of what these daguerreotypes say has no equivalent in the digital world, so each reproduction has been closely tailored to the individual qualities of the original: each daguerreotype needed to be read and understood before any translation was possible.
In 1955 the Franco-Belgian poet and visual artist Henri Michaux (1899-1984) tried
the psychedelic drug mescaline, an experience that transformed his artistic life and
provoked an outpouring of writings and distinctive drawings. Accompanying an
exhibition at the Courtauld Gallery, this fascinating catalogue celebrates these unique
drawings.
This catalogue and exhibition celebrate the unique Mescaline Drawings by the Franco-
Belgian poet and visual artist Henri Michaux (1899-1984). In January 1955, as part of an
experiment prompted by his publisher, Michaux, who was then 56 years old, tried the
psychedelic drug mescaline, a product derived from the Mexican peyote cactus. The
aim of the experiment was to investigate the effect of this type of non-addictive drug
on the creative act. Michaux considered these experiences to be a portal into the inner
workings of the mind.
The investigation transformed Michaux's artistic life and provoked an outpouring
of writings and distinctive drawings during the 1950s and 1960s, the latter being
at the centre of this exhibition. Created after the effects of mescaline (and at times
other drugs such as hashish, LSD and psilocybin) had passed, the drawings are the
astonishing transcriptions of the artist's sensation, rendered as if by a sort of shuddering
seismograph. This display and the accompanying catalogue, which present works rarely
seen in the UK, will showcase Michaux's extraordinary experience, one that pushed the
limits of what the essence of drawing is.
This ambitious new catalogue highlights the erotic and playful sculpture of Louise
Bourgeois, Eva Hesse and Alice Adams, foregrounding their shared commitment
to using abstract form to ask important questions about fluid sexuality, bodies and
humour. It accompanies a major exhibition at the Courtauld Gallery.
In 1966, the groundbreaking exhibition Eccentric Abstraction, held at the Fischbach
Gallery, New York, launched the career of Bourgeois, Hesse and Adams. It would
profoundly shape the language and legacy of post-war American sculpture. This
book returns us to this pivotal moment and, in bringing together these three
important artists for the first time since 1966, explores the emergence of a new
form of 'abstract erotic' sculpture.
Abstract Erotic brings together a series of internationally recognised scholars of
the three artists, presenting new insights into their practice, and its wider relevance
to the art of the 1960s until now. And by putting the work of Alice Adams in
conversation with the work of established figures Bourgeois and Hesse, it aims to
bring her work to the attention of a wider public.
This beautiful catalogue reassesses the work of acclaimed British photographer Roger Mayne (1929-2014), famous for his arresting street scenes capturing Britain's post-war youth. It accompanies an exhibition at The Courtauld Gallery, the first of its kind since 2017. Self-taught and influential in the advocacy of photography as an art form, Mayne was passionate about representing human life as he found it - most famously, in his street images of low-income communities in West London. Capturing children at play and the emerging phenomenon of the 'swaggering teenager', Mayne discovered in the young a defining energy that perfectly embodied both the scars and the vitality of post-war Britain. The exhibition of more than sixty photographs brings together a selection of Mayne's iconic London scenes with later, almost entirely unknown intimate portraits of his own family in rural Dorset. While these two strands have a different tenor, they share Mayne's radical empathy and his evident desire to create images with lasting impact, sensitivity and artistic integrity. With those pictured from the 1950s now in their senior years and a new generation of young people faced with myriad crises, Mayne's images of childhood, adolescence and family feel especially poignant and timely. The catalogue is richly illustrated and includes an original essay by Jane Alison and an interview with Mayne's daughter, Katkin Tremayne.
This catalogue, the fi rst of its kind in the UK, accompanying the 2024 exhibition at Dulwich Picture Gallery, explores the important contribution to Japanese woodblock printing of the Yoshida family, from patriarch Hiroshi down to the current generation, led by Yoshida Ayomi. The story of the Yoshida family has been woven into the story of Japanese printmaking across two centuries, with each generation infusing this traditional art form with their sensitivity and imagination. Trained as a painter and watercolourist, Yoshida Hiroshi (1876-1950) was a pioneer of the shin hanga artistic movement, which revived the traditional ukiyo-e prints ('pictures of the floating world') focusing on beautiful landscapes and landmarks and combined them with Western influences. His incredible corpus of woodblock prints, inspired by his travels across Japan but also in Europe, Southeast Asia, Africa and North America, greatly contributed to the popularity of Japanese prints in the West. A rare instance in the early twentieth-century Japanese art world, the Yoshida legacy relies also on the important contribution of its women: first Fujio (1887-1987), Hiroshi's wife, a watercolourist, painter and printmaker, who was the first Japanese woman artist to gain international acclaim. Her style developed over time from naturalism towards greater stylization and organic abstraction, with her late still lifes strikingly balancing boldness and sensuality. Toshi (1911-1995) and Hodaka (1926-1995), Hiroshi and Fujio's sons, represent the second generation of this artistic dynasty; Toshi introduced post-war abstraction to the Japanese printmaking process, while Hodaka pushed these modernist instances further, achieving a unique personal style inspired by the sosaku hanga movement of artistic self-expression. His wife Chizuko (1924-2017) co-founded the first group of female printmakers in Japan, the Women's Print Association. Her works sapiently connect popular art movements like Abstract Expressionism with Japanese printmaking. The youngest member of the Yoshida family is Ayomi (b. 1958), daughter of Hodaka and Chizuko, whose practice bridges the gap between ukyio-e and contemporary art thanks also to the exploration of organic materials. She has been exhibited at major international institutions and will contribute an original installation to the Dulwich show.
This lavish catalogue presents sketches made en plein air between the end of the eighteenth century and late nineteenth century. It accompanies a major exhibition at the National Gallery of Art, Washington (USA), the Fondation Custodia (France) and the Fitzwilliam Museum, Cambridge (UK).
In the eighteenth century the tradition of open-air painting was based in Italy, Rome in particular. Artists came from all over Europe to study classical sculpture and architecture, as well as masterpieces of Renaissance and Baroque art. During their studies, groups of young painters visited the Italian countryside, training their eyes and their hands to transcribe the effects of light on a range of natural features. The practice became an essential aspect of art education, and spread throughout Europe in the nineteenth century. This exhibition focuses on the artists' wish to convey the immediacy of nature observed at first hand.
Around a hundred works, most of them unfamiliar to the general public, will be displayed. The artists represented include Thomas Jones, John Constable, J.M.W. Turner, Pierre-Henri de Valenciennes, Achille-Etna Michallon, Camille Corot, Christoffer Wilhelm Eckersberg, Johan Thomas Lundbye, Vilhelm Kyhn, Carl Blechen, Johann Martin von Rohden, Johann Wilhelm Schirmer, Johann Jakob Frey, among others. The sketches demonstrate the skill and ingenuity with which each artist quickly translated these first-hand observations of atmospheric and topographical effects while the impression was still fresh.
The exhibition and the catalogue will be organized thematically, reviewing, as contemporary artists did, motifs as trees, rocks, water, volcanoes, and sky effects, and favourite topgraphical locations, such as Rome and Capri. The catalogue will present numerous unpublished plein air sketches, and contains much original scholarship on this relatively young field of art history.
The Regency was a period of crucial importance in the history of collecting Old
Master paintings in England. As the owners of aristocratic collections in France
and Italy were forced by the political upheavals following the French Revolution
to part with their inherited possessions, Old Masters arrived on the London
art market in unprecedented quantity and quality. This book presents seven
case studies of English collectors of the period, tracing the ways in which their
collections were formed, and analysing the taste that guided them. Also discussed
here are the ways in which these new owners displayed their acquisitions and how
they sought to organise them into a new unity.
Peter Humfrey examines in detail seven notable Regency collectors - the 4th
Earl Darnley, the 2nd Earl Grosvenor, Amabel de Grey, Sir Richard Colt Hoare,
Philip John Miles, Samuel Rogers, and the 5th Earl Cowper. All were of course
from the upper ranks of society. They nevertheless show, as well as many other
similarities, a number of telling differences. They were from both the higher and
lesser nobility, and from the gentry; they acquired their fortunes (and collections)
through inheritance, but also made them anew; predictably, most of the collectors
were men, but one to be discussed here was a woman; some chose to house their
collections in central London, but others at their seats in the country; and within
the parameters of fashionable taste, the seven show rather different priorities in
their choices of schools, scale, and subject matter. No doubt, too, the collectors
selected here were motivated by different considerations, and fashion, financial
investment, and political and social self-promotion - in addition, presumably, to
aesthetic pleasure - must all have played a part.
For each case study an Appendix lists the paintings they acquired. Together
the appendices may serve to give a general idea of the prevailing taste among
collectors during the Regency period. Among the Italian paintings, the Carracci and
their Bolognese followers (Domenichino, Albani, Guido Reni, Guercino) feature
prominently. Other highly sought-after Old Masters included Poussin, Claude and
Dughet, and no less attractive to the Romantic generation were the contrastingly
wild landscapes of Salvator Rosa.
This book looks at the art and material culture of Ancient Egypt in a new way - by finding out who made it and how. The making of various kinds of Egyptian art was dictated by the different materials used: stone, ceramics, faience and glass, metalwork, jewellery, paint, linen, basketry, wood, papyrus and cartonnage. Each of these media is examined in turn, and the exquisite workmanship and knowledge of individual makers is here revealed and celebrated. The book accompanies a major exhibition at the Fitzwilliam Museum, Cambridge.
Fully illustrated and full of new research, this book will appeal to enthusiasts and scholars alike. It approaches a familiar subject from a fresh angle, focusing on the artists and makers. The many scholars involved also reveal their personal appreciation and understanding of the different media that they have studied or, frequently, restored, seeking to get to the heart of the methods of the ancient craftsmen, whose work they have learned to respect and admire. These scholars have been aided, of course, by modern technology, which gives a holistic analysis of these objects that now are some 4,000 years old but which can now often be 'read' very nearly in their entirety. Almost
100 different objects are presented and discussed for their typical or unusual features.
Besides the editor's introduction, there is an essay on the difficulties of talking about individual artists in Ancient Egypt by Alessio delli Castelli and Dimitri Laboury, and conversations with contemporary makers working with the same materials today in much the same way as artists would have done in Ancient Egypt.
Accompanying a major exhibition of new and recent works by Peter Doig at The Courtauld, London, this publication will present an exciting new chapter in the career of one of the most celebrated and important painters working today and will include paintings and works on paper created since the artist's move from Trinidad to London in 2021. Doig (born Edinburgh, 1959) is widely acknowledged as one of the world's leading artists. He secured his early reputation in the 1990s as a highly original figurative painter, producing large-scale, immersive landscape paintings that exist somewhere between actual places and the realms of the imagination. Layered into his paintings is a rich array of inspirations, such as scenes from films, album covers, and the art of the past. His works are often related to the places where he has lived and worked, including the UK, Canada and Trinidad. In 2021, Doig moved back to London where he has set up a new studio. This new studio has become the crucible for developing paintings started in Trinidad and New York and elsewhere, which are being worked up alongside completely fresh paintings, including a new London subject. The works produced for the exhibition at The Courtauld convey this particularly creative experience of transition, as Doig explores a rich variety of places, people, memories and ways of painting that have accompanied him to his new London studio. For Doig, printmaking is an integral part of his artistic life: his prints and his paintings often work in dialogue with one another. The catalogue will also showcase the artist's work as a draughtsman and printmaker by exploring a series of his new and recent drawing and prints, allowing readers to consider the full span of Doig's creative process. Doig has long admired the collection of The Courtauld Gallery.
Covering as they do so many facets of civilization, rings tell us more about the hopes, aspirations, taste and sentiments of our ancestors than any other jewels surviving from the past. Moreover, the examples from the Griffin Collection, which have been assembled with taste and discernment over several decades, are not only rare but also of unusually high quality and intrinsic value. As well as being aesthetically attractive, these rings offer us a glimpse into the lives of their owners, as becomes evident in the vivid account offered by Diana Scarisbrick, one of the world's leading jewellery historians.
The collection illustrates the many uses of rings-as seals needed for business, in expressing religious belief, political loyalties and personal interests such as theatre going, hunting, classical art and astrology. Some demonstrate high rank and commemorate great historical occasions; others dating from the Middle Ages to Victorian England mark the major events of human existence - love, marriage and death - with rings bearing symbols and inscriptions. Often connected with historical figures, monarchs, notably Charles II and William IV or Isabella Zápolya, Queen of Hungary, but also with popes or artists, such as the Romantic poet Lord Byron. Each ring reveals personal information about the people who wore them and the societies in which they lived. An unusually high proportion of the rings have distinguished later provenance, coming from celebrated collectors: George Spencer 4th Duke of Marlborough, Constantine Ionides, Ernest Guilhou, Ralph Harari and Maurice de Rothschild.
Presenting for the first time the Alexis Gregory Gift to The Frick Collection, this exquisite publication provides illuminating insights into Gregory's magnificently eclectic collection, cataloging his fine and decorative works of art in detail. Twenty-eight works of art bequeathed to the Frick by Alexis Gregory range from Limoges enamels to Saint-Porchaire ware to pastels by the Venetian painter Rosalba Carriera. This remarkable gift has introduced new types of objects to the Frick: works in ivory and rhinoceros horn are the first of their kind to be held in the collection. Gregory's gift includes fifteen Limoges enamels, one of them produced in the workshop of Suzanne de Court, the only woman known to have led an enamel workshop in Limoges. Also part of the gift are a gilt-bronze sculpture, an ivory hilt, a pomander, ewers, saltcellars, and two clocks. Many of Gregory's objects came from such prestigious owners as the French royal collections and the Rothschilds. Included in the publication are commentaries on each gift. This lavishly illustrated publication accompanies an exhibition that will be on view at The Frick Collection February 16 through May 14, 2023.
Henry Spencer Moore (1898-1986) was one of the most influential British artists of the twentieth century. This catalogue considers Moore's celebrated Shelter drawings as the point of departure for a new reading of the artist's fascination with images of walls, during and immediately after World War II. It accompanies a focused exhibition at the Courtauld Gallery. After the destruction of his London studio early in World War II, Henry Moore began drawing figures sheltering from bomb raids in the London Underground. This catalogue and exhibition consider Moore's celebrated series as the point of departure for a new reading of the artist's fascination with images of walls, during and immediately after World War II. In the London Underground, where Moore drew these figures, the walls of these sheltered spaces came to absorb his attention in an altogether new way, becoming scene-setters, and key components of his drawings. This fascination with the bricks and the presence of walls, their texture, mass and volume, became especially important after his project to illustrate the wartime radio play The Rescue, based on Homer's Odyssey. Henry Moore: Shadows on the Wall, a collaboration with the Henry Moore Foundation, suggests for the first time that the walls in his drawings offer a new way to understand some of his most individual and monumental Post-War sculpture projects.
Ce magnifique volume accompagne une exposition à la Courtauld Gallery
qui réunira pour la première fois en 120 ans un extraordinaire ensemble
de tableaux impressionnistes de Londres par Claude Monet. L'exposition
concrétisera l'ambition inassouvie de l'artiste de montrer les oeuvres sur les
rives de la Tamise, à seulement deux pas de l'endroit où un grand nombre
d'entre elles ont été créées.
Claude Monet (1840-1926) est mondialement connu comme étant la figure
marquante de l'Impressionnisme français, le mouvement qui a changé le
cours de l'art moderne. Ce qui est moins connu en revanche est le fait que
les tableaux impressionnistes les plus remarquables de Monet n'ont pas été
réalisés en France mais à Londres. Ils représentent des vues exceptionnelles
de la Tamise, comme jamais observées auparavant, pleines d'atmosphères
évocatrices, de lumières mystérieuses et de couleurs radieuses.
Commencée au cours de trois séjours dans la capitale entre 1899 et 1901,
la série, qui dépeint Charing Cross Bridge, Waterloo Bridge et les Chambres
du Parlement, fut dévoilée lors d'une importante exposition à Paris en 1904.
Monet tenait profondément à les présenter à Londres l'année suivante, en 1905,
mais le projet tomba à l'eau. Encore aujourd'hui, ils n'ont jamais été le sujet
d'une exposition au Royaume-Uni.
Monet and London: Views of the Thames concrétisera l'ambition inassouvie
de Monet de montrer cet extraordinaire ensemble de tableaux à Londres, sur
les rives de la Tamise, à seulement 300 mètres du Savoy Hotel où la plupart
furent réalisés. En présentant les tableaux que Monet a lui-même choisis pour
son public à Paris et Londres, les visiteurs auront la chance unique de voir le
spectacle que Monet a lui-même organisé et les oeuvres qu'il pensait les plus
représentatives de son ambitieuse entreprise, rassemblées pour la première fois
plus d'un siècle après leur exposition inaugurale.
Ce magnifique catalogue regroupe pour la première fois de remarquables dessins modernes réalisés par des maîtres européens et américains et assemblés par feu Howard Karshan et sa femme, Linda, qui a récemment présenté les oeuvres à l'Institut Courtauld. Le catalogue, qui accompagne leur exposition à la Courtauld Gallery, inclut les dessins d'artistes renommés tels que Paul Cézanne, Wassily Kandinsky, Paul Klee, Willem de Kooning, Philip Guston, Sam Francis, Cy Twombly, Gerhard Richter et Georg Baselitz.
This important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch, one of the world's greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia
Le Crocker Art Museum possède les toutes premières et meilleures collections de dessins des Etats-Unis. Présentant des artistes tels que Johann Wolfgang Baumgartner, Anton Raphael Mengs ou encore Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examine les principales évolutions des techniques de dessinateurs allemands au cours du XVIIIème siècle.
Publié à l'occasion du 150ème anniversaire de la collection.
The Anglo-American artist James McNeill Whistler (1834 - 1903) is a household name - a man who inspired and astonished the Victorian world. Less well known, though, is the influence of nature on Whistler's work. This innovative and compelling study reconsiders Whistler's work from the context of his military service and his relationship with 'nature at the margins', showing how Whistler's observation of nature and its moods underpinned his haunting visions of nineteenth-century life.
Fra Angelico transformed painting in Florence with his pioneering images.
Reuniting for the fi rst time his four ingenious reliquaries for Santa Maria Novella, this publication explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting.
Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston, this catalogue explores one of the most important artists of the Renaissance. Fra Angelico (c. 1395-1455) transformed painting in Florence with pioneering images, rethinking popular compositions and investing traditional Christian subjects with new meaning.
His altarpieces and frescoes set new standards for quality and ingenuity, contributing to Angelico's unparalleled fame on the Italian peninsula. With the intellect of a Dominican theologian, the technical facility of Florence's fi nest craftsmen and the business acumen of its shrewdest merchants, he shaped the future of painting in Italy and beyond.
The exhibition reunites for the fi rst time Fra Angelico's four reliquaries for Santa Maria Novella (1424-34; Isabella Stewart Gardner Museum and Museo di San Marco, Florence). Together they cover key episodes in the life of the Virgin Mary and capture in miniature some of his most important compositional innovations. Assembled at the Gardner with exceptional examples of Angelico's narrative paintings from collections in Europe and the United States, this exhibition explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting in Florence.
This lavishly illustrated catalogue will unveil the treasures of the Schroder
Collection, one of the finest collections of Renaissance silver, paintings,
works on paper, bronzes, maiolica and gems in private hands. Highlights
include magnificent Renaissance goldsmith work; paintings by artists such as
Lucas Cranach the Elder, Hans Holbein the Elder and Hans Burgkmair and
masterpieces of Italian maiolica and bronze sculpture by masters including
Giambologna.
Acquired by the Schroder banking family mainly between the second half of
the nineteenth and the early twentieth century, several of these masterpieces
have never been seen by the public, and have remained unpublished until
now. This diverse group of objects, made of both familiar and exotic materials
and spanning a wide range of styles, subjects and techniques, embodies
the characteristics of the Renaissance and its global nature. Jerry Brotton's
innovative and thought-provoking overview of the period reveals the crosscultural
fertilization of materials, ideas and motifs both across Europe
(especially from north to south) and the East, including first Byzantine then
Ottoman dominions, as well as the Far East. This sets the scene for a survey
of 16th-century art forms, including luxury goldsmith work, German prints
and books, Northern Renaissance painting, Italian bronze and maiolica, and
antique engraved gems and cameos. Each section is introduced by a leading
expert in the field and includes in-depth essays on selected highlights from the
collection.
The publication will celebrate the 2025 launch of the new Renaissance
Gallery in the Holburne Museum in Bath, which will draw inspiration from the
grand treasury displays of the past and make the collection accessible to a wider
audience.
