The formation and career of the first major woman artist of the Renaissance
Sofonisba Anguissola (ca. 1535–1625) was the daughter of minor Lombard aristocrats who made the unprecedented decision to have her trained as a painter outside the family house. She went on to serve as an instructor to Isabel of Valois, the young queen of Spain. Sofonisba’s Lesson sheds new light on Sofonisba’s work, offering a major reassessment of a Renaissance painter who changed the image of women’s education in Europe—and who transformed Western attitudes about who could be an artist.
In this book, Michael Cole demonstrates how teaching and learning were central themes of Sofonisba’s art, which shows women learning to read, play chess, and paint. He looks at how her pictures challenged conventional ideas about the teaching of young girls, and he discusses her place in the history of the amateur, a new Renaissance type. The book examines Sofonisba’s relationships with the group of people for whom her practice was important—her father Amilcare, her teacher Bernardino Campi, the men and women who sought to be associated with her, and her sisters and the other young women who followed her path.
Sofonisba’s Lesson concludes with a complete illustrated catalog of the more than two hundred known paintings and drawings that writers have associated with Sofonisba over the past 450 years, with a full accounting of modern scholarly opinion on each.
This lavishly illustrated book offers a detailed look at the evolution of Helen Frankenthaler's sumptuous evocations of the natural world in paintings spanning forty years. Famous as the inventor of the "soak-stain" technique that ushered in Color Field painting in the mid-twentieth century, Helen Frankenthaler (1928-2011) continued to create powerful, original abstractions throughout her lifetime. This volume focuses on a selection of paintings that reveal the relationship between the pittura and the panorama in her work over the course of four decades. As Frankenthaler scholar John Elderfield notes, this interplay between works that are reminiscent of easel paintings, though made on the floor, and large, horizontal canvases that open onto shallow but expansive spaces, as panoramas do, was intrinsic to the artist's development. In an original essay, Pepe Karmel traces connections between Frankenthaler's sumptuous evocations of what she called "the atmosphere of landscape" and inspirations ranging from sixteenth-century Venetian paintings to works by Lucio Fontana, as well as her influence on successors including Mary Weatherford. Published to accompany an exhibition organized by the Helen Frankenthaler Foundation and Venetian Heritage, in association with Gagosian, at the Museo di Palazzo Grimani, Venice, this generously illustrated volume offers a close look at a key aspect of Frankenthaler's long pursuit of painting as a means to convey experiences and effects.
The public works of Eduardo Chillida, present in numerous cities in the world, figure among the most intense and telling creations of contemporary monumental-scale sculpture. This book analyses, in addition to the artistic, stylistic and environmental aspects, the profound ethical implications of Chillida's work.
Edward Hopper’s world-famous paintings articulate an idiosyncratic view of modern life. With his impressive subjects, independent pictorial vocabulary, and virtuoso play of colors, Hopper continues to influence to this day the image of the United States in the first half of the twentieth century. He began his career as an illustrator and became famous around the globe for his oil paintings. They testify to his great interest in the effects of color and his mastery in depicting light and shadow. The Fondation Beyeler is devoting its large exhibition in the spring of 2020 to Hopper’s iconic images of the vast American landscape. The catalogue gathers together all of the paintings, watercolors, and drawings from the 1910s to the 1960s on display in the exhibition, and supplements them with essays focused on the subject of depicting landscape.
Cet imposant catalogue en français accompagne la grande exposition « Van Eyck. Une Révolution optique » au Musée des Beaux-Arts de Gand (MSK Gent) au printemps 2020. L'exposition s'articule autour des volets extérieurs restaurés de «L'Adoration de l'Agneau mystique» et d'autres oeuvres de Van Eyck. Outre le retable, seule une vingtaine d'oeuvres du Maître flamand Van Eyck sont conservées de par le monde. Tout à fait exceptionnellement, au moins la moitié d'entre elles font le voyage jusqu'à Gand en 2020, pour l'exposition.
A landmark publication on the influential Renaissance sculptor Bertoldo di Giovanni, who was the pupil of Donatello and the teacher of Michelangelo Renaissance sculptor Bertoldo di Giovanni (ca. 1440 1491) was a student of Donatello, a teacher of Michelangelo, and a favourite of Lorenzo de' Medici "il Magnifico," his principal patron. Bertoldo was one of the first sculptors to create statuettes in bronze. With an overview of the artist's entire oeuvre - including The Frick Collection's Shield Bearer, the only Bertoldo sculpture outside of Europe - this major scholarly catalogue is the most substantial text on Bertoldo ever produced. Featured are contributions from renowned international scholars who bring into focus the sculptor's unique position at the heart of the artistic and political landscape in fifteenth-century Italy.
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe production A New York Times critics' pick | Best Art Books 2019 Featuring a tip-on cover images and paper changes throughout, Cannibalizing Modernism is the first comprehensive English-language catalog on the Brazilian painter Tarsila do Amaral (1886–1973), a key figure in Latin American modernism. After studying with Fernand Léger and André Lhote in Paris, Tarsila—as she is widely known in Brazil—cannibalized modern European references to create a unique style, with the use of caipira (rural Brazilian) colors and representations of local characters and scenes. Much of her work was made in dialogue with two leading modernist thinkers of her time, Mário de Andrade and Oswald de Andrade. Her work also parallels the development of Oswald de Andrade's antropofagia, a key concept in 20th-century Latin American thought, through which intellectuals of the tropics would cannibalize European cultural references, while also bringing indigenous, Afro-Atlantic and local elements into their work. Cannibalizing Modernism reproduces 233 paintings alongside documents and photographs.
In this beautiful selection, Ian Warrell employs the very finest examples of Turner's Venetian studies to either guide your next visit or awaken your memories of trips past.
