Art Deco by
Art Deco style was established on the ashes of a disappeared world, the one from before the First World War, and on the foundation stone of a world yet to become, opened to the most undisclosed promises. Forgetting herself in the whirl of Jazz Age and the euphoria of the "Années Folles", the Garçonne with her linear shape reflects the architectural style of Art Deco: to the rounded curves succeed the simple and plain androgynous straight line... Architecture, painting, furniture and sculpture, dissected by the author, proclaim the druthers for sharp lines and broken angles. Although ephemeral, this movement keeps on influencing contemporary design.
Art Nouveau Posters
Art Nouveau designates a decorative and architectural style developed in the 1880s and 1890s in the West. Born in reaction to the Industrial Revolution and to the creative vacuum it left behind, Art Nouveau was at the heart of a "renaissance" in the decorative arts. The primary objective of the movement was the creation of a new aesthetic of nature through a return to the study of natural subjects. In order to achieve this, such artists as Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop, and William Morris favoured innovation in technique and novelty of forms. After its triumph at the Paris Universal Exposition in 1900, the trend continued and has inspired many artists ever since. Art Deco, the successor of Art Nouveau, appeared after World War II.
Between Renaissance and Baroque by
Between Renaissance and Baroqueis a stunning achievement - the first book to be written about the original painting commissions of the Jesuits in Rome. Offering a uniquely comprehensive and comparative analysis of the paintings and stuccoes which adorned all of the Jesuit foundations in the city during their first half century of existence, the study treats some of the most crucial monuments of late Renaissance painting including the original decorations of the church of the Gesù and the Collegio Romano, and the martyrdom frescoes at S. Stefano Rotondo. Based on extensive new archival research from Rome, Florence, Parma, and Perugia, Gauvin Alexander Bailey's study presents an original, revisionist treatment of Italian painting in the last four decades of the sixteenth century, a critical transitional period between Renaissance and Baroque. Bailey relates the Jesuit painting cycles to the great religious and intellectual climate of the period, isolates the new stylistic trends which appeared after the Council of Trent, and looks at the different ways in which artists met the challenges for devotional art made by the religious climate of the post-Tridentine period. Bailey also succeeds in providing the first ever written reconstructions of the Jesuit churches of S. Tommaso di Canterbury, S. Saba, and S. Apollinare, and the original novitiate complex of S. Andrea al Quirinale, the site of the most complex and original hospital decoration in late Renaissance Italy. Through these reconstructions, Bailey sheds new light on such works as Louis Richeôme's meditation manual on the paintings at S. Andrea, Le peinture spirituelle, a lively and detailed treatise on late Renaissance art that has never before been the subject of a thorough study. Ultimately, Bailey provides us with a new understanding of the stylistic and iconographic strands which shortly afterward were woven together to form the Baroque.
Chinese Art by
This book is an encyclopedia of Chinese classical art, giving an informative overview of all forms of Chinese art and providing the keys to understanding contemporary art in China. This book is a great way for beginners to better acquaint themselves with China, while specialists will appreciate the global perspective.
The Icon and the Square by
In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists--Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin--Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina's timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.
The Museum of the Senses by
Traditionally sight has been the only sense with a ticket to enter the museum. The same is true of histories of art, in which artworks are often presented as purely visual objects. In The Museum of the Senses Constance Classen offers a new way of approaching the history of art through the senses, revealing how people used to handle, smell and even taste collection pieces. Topics range from the tactile power of relics to the sensuous allure of cabinets of curiosities, and from the feel of a Rembrandt to the scent of Monet's garden. The book concludes with a discussion of how contemporary museums are stimulating the senses through interactive and multimedia displays.Classen, a leading authority on the cultural history of the senses, has produced a fascinating study of sensual and emotional responses to artefacts from the middle ages to the present. The Museum of the Senses is an important read for anyone interested in the history of art as well as for students and researchers in cultural studies and museum studies.
Myths, History, and Art by
Sir Basil Markesinis has held tenured senior posts at the Universities of Cambridge, Oxford, University of London, Leiden (in the Netherlands) and the Law School of the University of Texas at Austin where he is now Emeritus Professor of Comparative Methodology. He has also held for a number of years part-time Chairs at the Universities of Paris I (Sorbonne), Paris II (Assas), Munich (Germany), Ghent (Belgium), Siena, Genova, and Rome (Italy), the Michigan Law School (at Ann-Arbour) for two years and the Cornell Law School for four years. He has authored or co-authored 56 books, over 150 legal articles, and close to 100 articles on geopolitical issues in journals and newspapers in three continents. His most-recent work is his three-volume illustrated treatise entitled Ancient Greek Poetry from Homer to Roman Times, Jan Sramek, Verlag (2017). His academic work has earned him Fellowships at the Academies of Athens, Belgium, Britain, France, the Netherlands, Rome (Lincei), as well as the Athens Archaeological Society and the American Law Institute. For his work in promoting international relations and the study of various European Cultures, especially through his creation of the Leiden Institute of Anglo-American Law (in 1987); The Oxford Institute of European and Comparative Law (in 1996) of which he was Founder, fund raiser, and first Director; and the Texas Institute of Global Law (in 2000), he was awarded the Insignia of the Knight Grand Cross of the Order of Merit of the Republic of Italy; the Knight Grand Cross of the Order of Merit of the Republic of France; the Insignia of the Grand Cross of Service with Star of the Republic of Germany, as well as the insignia of Commander of the Order of the L�gion d' honneur of France. In 1997 on the recommendation of the Lord Chancellor, he was appointed Hon. Queen's Counsel; and in 2005, on the advice of the Prime Minister, he was knighted by H. M. Queen Elizabeth II for "exceptional services to international relations."