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ART HISTORY.

ART HISTORY.

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1 Getty Research Journal, No. 9 (2017)
Getty Research Institute, Los Angeles: 2017. s Softcover. Brand new book. 
Contents: Louis le Juste, XIIIe / Della Bella and De Saint-Sorlin Paris Amanda Spies-Gans, "A Princely Education through Print: Stefano della Bella's 1644 Jeux de Cartes Etched for Louis XIV," Getty Research Journal, no. 9 (2017): 1-22. Le carnaval perpétuel / Guerard Edward Sterrett, "Modes of Address: The Fashion Print as Passe-Partout," Getty Research Journal, no. 9 (2017): 23-38. Illustration for the story Clotilde Roth-Meyer Berry, "Beyond Devilish Humor: The Serious Side of Jehan-Georges Vibert, 'Painter of Cardinals,'" Getty Research Journal, no. 9 (2017): 39-56. Photograph of Hoffman's bronze Noémie Étienne, "Dioramas in the Making: Caspar Mayer and Franz Boas in the Contact Zone(s)," Getty Research Journal, no. 9 (2017): 57-74. Small vase / Gallé Valérie Thomas, "Émile Gallé and the Revue des arts décoratifs," Getty Research Journal, no. 9 (2017): 75-92. Margherita d'Ayala Valva, "Matter Matters: An Unsolved Problem in Boccioni's Art and Poetics," Getty Research Journal, no. 9 (2017): 93-110. Antigraceful / Boccioni Rosalind McKever, "Benedetta Marinetti and the Postwar Market for Umberto Boccioni Sculptures," Getty Research Journal, no. 9 (2017): 111-26. Letter from Bohuslav Fuchs to Jan Tschichold / Rossmann (letterhead design) Sonia de Puineuf, "Mechanographic Beauty: Jan Tschichold's Letterheads and Envelopes Collection," Getty Research Journal, no. 9 (2017): 127-40. Storyboard for Malevich animation / Richter Magdalena Nieslony, "Felicitous Failure: Hans Richter's Malevich," Getty Research Journal, no. 9 (2017): 141-60. Eeva-Liisa Pelkonen, "Architectural Morphologies, ca. 1960," Getty Research Journal, no. 9 (2017): 161-79. Perspective view of the Takht at Persepolis / Magliar Henry P. Colburn, "Gemelli Careri's Description of Persepolis," Getty Research Journal, no. 9 (2017): 181-90. Christina Aube, "The Lost Volumes of Jean-Louis Soulavie's Monumens de l'histoire de France en estampes et dessins," Getty Research Journal, no. 9 (2017): 191-200. Restoration of the Platform of Venus with Chacmool, Chichén Itzá / Le Plongeon Robert J. Kett, "Monuments in Print and Photography: Inscribing the Ancient in Nineteenth-Century Mexico," Getty Research Journal, no. 9 (2017): 201-10. Virgin of the Rocks / Da Vinci Alison Clarke, "Edward Poynter, David Croal Thomson, and Leonardo da Vinci: Private Correspondence on a Public Debate," Getty Research Journal, no. 9 (2017): 211-18. Rafael Cardoso, "Cordel Collection," Getty Research Journal, no. 9 (2017): 219-25. 
Price: 47.50 USD
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2 ANNE-LISE DESMAS; ÉDOUARD KOPP, GUILHEM SCHERF, AND JULIETTE TREY. Bouchardon: Royal Artist Of The Enlightenment.
J. Paul Getty Museum in association with Musée du Louvre Editions and Somogy Art Publishers: 2017. h Hardcover with dustjacket. Brand new book. 
One of the most imaginative and fascinating artists of eighteenth-century France, Edme Bouchardon (1698-1762) was instrumental in the transition from Rococo to Neoclassicism and in the artistic rediscovery of classical antiquity. Much celebrated in his time, Bouchardon created some of the most iconic images of the age of Louis XV. His oeuvre demonstrates a remarkable variety of themes (from copies after the antique to subjects of history and mythology, portraiture, anatomical studies, ornament, fountains and tombs), media (drawings, sculptures, medals, prints), and techniques (chalk, plaster, wax, terracotta, marble, bronze). With five essays by experts on Bouchardon's sculpture and graphic arts, more than 140 catalogue entries, and a detailed chronology, this book aims to demonstrate the originality of Bouchardon's art within the cultural and social context of the period, while suggesting the subtle relationship between, as well as the relative autonomy of, the artist's two careers as a sculptor and a draftsman. This lavishly illustrated publication represents an unprecedented and thorough survey on this major and unique artist from the Age of Enlightenment, offering in-depth scholarship based on unpublished material. Anne-Lise Desmas is curator and head of the Department of Sculpture and Decorative Arts at the J. Paul Getty Museum. Édouard Kopp is the Maida and George Abrams Associate Curator of Drawings at the Harvard Art Museums. Guilhem Scherf is chief curator in the Department of Sculpture at the Louvre. Juliette Trey is curator in the Department of Graphic Arts at the Louvre. 448 pages, 9 1/2 x 11 3/4 inches, 510 color illustrations, hardcover. "With illustrations of excel∆lent quality. Bouchardon is well served by this fine catalogue which, with its comprehensive survey of the life and work, should win new admirers for this innovative and most interesting artist."—Art Newspaper 
Price: 75.95 USD
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3 BAILEY, COLIN B. Fragonard's Progress Of Love At The Frick Collection.
The Frick Collection, New York in Association with D Giles Limited, London: 2011. s Softcover with flaps. Brand new book. 
This richly illustrated volumereveals the intriguing story behind the commission, rejection, and rehousing of Jean-Honore Fragonard's Progress of Love, a series of fourteen paintings considered by many to be the artist's masterpiece. With 140 color images of the Fragonard paintings, details, shots of the room, plans, original sketches, and other comparative images, author Cololin Bailey explores the commission of the four main panels, the arrangement of the pctures and the original Louveciennes floorplan, the possible reason for their rejection, and how Fragonard reinstalled them in his cousin's house in Grasse. Includes an Index. 
Price: 142.50 USD
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4 BARRATT, CARRIE REBORA. Queen Victoria And Thomas Sully.
Princeton University Press, Princeton in association with the Metropolitan Museum of Art: 2000. 0691070342 / 9780691070346 First Edition. h Hardcover with dustjacket. Good condition. 
In 1837, Thomas Sully, who had created a vogue for full-length portraiture among the elite of Philadelphia, was offered a commission to paint the young Queen Victoria. He had already painted Andrew Jackson and Lafayette, but it was his refined and sensual portraits of women that had won him the greatest renown. Queen Victoria and Thomas Sully tells the story of his complex and challenging sojourn abroad, in which he spent five months waiting for a sitting with Her Majesty. He kept expectations in check as he navigated his way through the corridors of British protocol and power, biding time by becoming an active participant in London's lively art scene. By drawing upon Victoria's and Sully's journals, as well as contemporary letters, Carrie Barratt deftly arrives at exactly how Sully achieved his stunning portrait of Victoria, which took great liberties with conventions of state portraiture and was acclaimed as a masterpiece. This volume, which accompanies an exhibition originating at The Metropolitan Museum of Art in New York and traveling to The Wallace Collection in London, is beautifully illustrated and illuminates not only the creation of this painting but the competitive process of making portraits in order to advance political power. Barratt includes an edited version of Sully's engrossing journal, the diary of a highly articulate and entrepreneurial American in London with his twenty-one-year-old daughter during the exciting coronation year. Both the exhibition and the book have been undertaken at this time to commemorate the anniversary of Queen Victoria's death in January 1901 - an event sure to garner considerable attention on both sides of the Atlantic. Queen Victoria and Thomas Sully provides entrance to the creative process of an artist who thought of the world in terms of painting and recorded observations of the "essentials of the pictures" of Correggio, Titian, Reynolds, Rembrandt, and Rubens. His chronicle of early Victorian England is replete with colorful adventures: his visits to aristocratic soirees; his identification of the man who took the Elgin marbles from the Parthenon; his sightings of unemployed weavers singing for their supper and washerwomen beating clothes by the edge of the river. A work of scholarship valuable to art historians and students of Victoriana, this book also has the novelistic charm inherent in telling the true story of someone who really has "been to London to visit the Queen." Includes an Index. 
Price: 13.05 USD
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5 BINDMAN, DAVID; GATES, JR., HENRY LOUIS; DALTON, KAREN C. C. (EDITORS). The Image Of The Black In Western Art, Volume II: From The Early Christian Era To The "age Of Discovery", Part 2: Africans In The Christian Ordinance Of The World.
Harvard University Press, Cambridge, Massachusetts and London England: 2010. h Hardcover with dustjacket. Brand new book. 
In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones. Africans in the Christian Ordinance of the World, written by a small team of French scholars, has established itself as a classic in the field of medieval art. The most striking development in this period was the gradual emergence of the black Magus, invariably a figure of great dignity, in the many representations of the Adoration of the Magi by the greatest masters of the time. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject. David Bindman is Emeritus Professor of the History of Art at University College London. Henry Louis Gates, Jr., is Alphonse Fletcher University Professor and the Director of the W. E. B. Du Bois Research Institute at the Hutchins Center for African and African American Research, Harvard University. Karen C. C. Dalton is Harvard University, W. E. B. Du Bois Institute for African and African American Research, Editor, Image of the Black in Art. "Monumental and groundbreaking volumes…[with] beautifully reproduced and thought-provoking images… A vast array of different 'Images of the Black' appear in these volumes, from statues of black saints such as St. Maurice or St. Benedict the Moor, to portraits of notable African ambassadors and kings, poets and musicians, or drawings of literary characters such as Shakespeare's Othello, Aphra Behn's Oroonoko, or Yarico from George Colman's Inkle and Yarico… Africans have been painted and sculpted by some of the most eminent artists in the Western tradition, including Titian, Tiepolo, Rubens, Rembrandt, Van Dyck, Reynolds, Hogarth, Watteau and Gainsborough. More importantly, they have not been caricatured, but sensitively portrayed by these masters, their humanity captured on canvas for all to see… In placing such a vast variety of different images together, both positive and negative, these volumes show that the 'Image of the Black' was not at all homogenous but rather reflected the wide range of the Western response to the 'other.' …Seen through the prism of 'Western Art,' these 'Images of the Black' often tell us more about the Europeans and their agendas than the Africans they portray. Nonetheless, the cumulative effect of the images is to demonstrate a continuous black presence in the Western imagination and experience… This series will pose new questions to scholars of art, history and literature and provoke us all to reconsider the role of 'the Black' in Western civilization."—Miranda Kaufmann, The Times Literary Supplement "I also would recommend The Image of the Black in Western Art, which is both expensive and priceless. It's fascinating to see how black people were viewed before we decided that African ancestry made you, by God or science, property."—Ta-Nehisi Coates, The Atlantic online "The Image of the Black in Western Art [is] a truly epic project… The series, scheduled for completion in 2014, is, so far, as eye-opening to view as it is to read and, one volume at a time, could be the answer to gift gifting for several years to come."—Holland Cotter, The New York Times "A sumptuous new edition with much additional material and copious color pictures… The books are a wonderful resource: a glitteringly decorated window into the Du Bois Institute's unrivalled archive of relevant images. The accompanying essays, which are models of erudition, are inescapable reading for anyone interested in the subject."—Felipe Fernández-Armesto, The Art Newspaper "Harvard is known to be reluctant to publish art books but if this is anything to go by, it should do so more often."—Jaynie Anderson, Australian Literary Review "The volumes so far are a treasury of paintings and sculptures of people down the ages, taking in many strands of ritual, classicism, artlessness and humanity."—William Feaver, Spectator "The joy of this series lies in the illustration and discussion of imagery found not only in paintings and woodcuts, but also in mosaics, illuminated manuscripts, and murals."—K. Mason, Choice "One of the most thorough collections depicting the African-American in works of art… The books build on the research and photo project started by art patron Dominique de Menil in the 1960s, which grew out of a frustration with segregation. The collection was then transferred and continued to grow at the W.E.B. Du Bois Institute at Harvard University. De Menil's original volumes have been updated by David Bindman and Henry Louis Gates, Jr. and now include more detailed descriptions and provide a larger context of the artwork that spans more than 5,000 years, including the Roman Empire to present-day pieces, filling in tremendous gaps in de Menil's collection, according to some art historians. The images, printed in full-color on high-quality pages, are available for the masses to see and understand how African-Americans not only fit into the various societies of the Western world, but how those relationships evolved throughout the ages."—Kirkus Reviews "A fascinating story of the changing image of Africa's people in Western art. The images are simply extraordinary and the scholarship inspiring. Anyone who cares about Western art or about Africa and her diaspora ought to know these magnificent volumes."—Kwame Anthony Appiah "In addition to being an indispensable guide to the evolving meanings of racial difference, these dazzling volumes filled with extraordinary images and rich arguments contribute to an alternative history of the Western world. An invaluable gift for both specialists and general readers."—Paul Gilroy, author of The Black Atlantic: Modernity and Double Consciousness Praise for the previous edition: One concludes from these pioneering volumes that artistic representations were historical 'events' that eventually helped to shape a mentality that justified the enslavement of millions of Africans as well as later attempts to Christianize and liberate their descendants."—David Brion Davis, The New York Review of Books 
Price: 95.00 USD
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6 BOWNESS, ALAN. The Conditions Of Success: How The Modern Artist Rises To Fame.
Thames and Hudson, London: 1989. A Presentation Copy. h Hardcover as issued without dustjacket. Brand new book. Includes slipcase. 
This is the Twenty-First of the annual Walter Neurath Memorial Lectures given in 1989. 
Price: 190.00 USD
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7 BOYLE, RICHARD. Double Lives: American Painters As Illustrators, 1850-1950.
New Britain Museum of American Art, New Britain: 2009. First Edition. s Softcover. Brand new book. 
A compelling catalogue documenting the work of American illustrators and painters who practiced painting as an art unto itself and as a means to tell a story. The catalogue explores the often uneasy relationship between the art of painting and the art of illustration, featuring American artists who practiced both styles of painting between 1850 and 1950. The catalogue charts the development of both types of art through the eyes of a select group of artists who engaged in both fine art and illustration. Richard J. Boyle, former director of the Pennsylvania Academy of Fine Arts, is an art historian and author of numerous publications on American art. Inlcudes 34 illustrations in color. 
Price: 19.00 USD
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8 BREMER-DAVID, CHARISSA. Conundrum: Puzzles In The Grotesques Tapestry Series.
J. Paul Getty Museum, Los Angeles: 2015. s Softcover. Brand new book. 
The whimsical imagery of four tapestries in the permanent collection of the J. Paul Getty Museum and currently on display at the Getty Center is perplexing. Created in France at the Beauvais manufactory between 1690 and 1730, these charming hangings, unlike most French tapestries of the period, appear to be purely decorative, with no narrative thread, no theological moral, and no allegorical symbolism. They belong to a series called the Grotesques, inspired by ancient frescos discovered during the excavation of the Roman emperor Nero's Domus Aurea, or Golden House, but the origins of their mysterious subject matter have long eluded art historians. Based on seven years of research, Conundrum: Puzzles in the Grotesques Tapestry Series reveals for the first time that the artist responsible for these designs, Jean-Baptiste Monnoyer (1636- 1699), actually incorporated dozens of motifs and vignettes from a surprising range of sources: antique statuary, Renaissance prints, Mannerist tapestry, and Baroque art, as well as contemporary seventeenth-century urban festivals, court spectacle, and theater. Conundrum illustrates the most interesting of these sources alongside full-color details and overall views of the four tapestries. The book's informative and engaging essay identifies and decodes the tapestries' intriguing visual puzzles, enlightening our understanding and appreciation of the series' unexpectedly rich intellectual underpinnings. Charissa Bremer-David is curator in the Department of Sculpture and Decorative Arts at the J. Paul Getty Museum. She is author of French Tapestries and Textiles in the J. Paul Getty Museum (Getty Publications, 1997) and has published extensively on French tapestries. 76 pages, 9 x 10 inches, 56 color and 10 black-and-white illustrations. 
Price: 19.00 USD
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9 BROWN, DAVID BLAYNEY; CONCANNON, AMY & SMILES, SAM (EDITORS). J. M. W. Turner: Painting Set Free.
Getty Publications, Los Angeles: 2014. h Hardcover with dustjacket. Brand new book. 
When the prolific British painter Joseph Mallord William Turner (1775-1851) died at the age of 76, his contemporaries held a generally negative view of his recent work, describing it as indulgent, eccentric, and even repulsive. But over the past century, a number of curators and critics have reassessed Turner's late paintings. Instead of finding his employment of shimmering color to evoke light unpleasant or unskilled, they have seen it as a precursor to the Impressionists and consider his use of abstraction to be distinctly modern. In this elegantly conceived volume, leading experts on Turner consider these contrasting views of the artist in a groundbreaking exploration of his paintings. They examine his notes and sketchbooks to determine whether his health may have impacted his art and how Victorian views of old age influenced perceptions of the elderly artist. They also question the notion that Turner's late work articulated a conclusive, radical vision heedless of public reaction, for evidence makes clear that he had a firm idea of the art market in his day. Fully illustrated in color, this book is published on the occasion of an exhibition on view at the Tate Britain, London, from September 15, 2014, through January 18, 2015; at the J. Paul Getty Museum from February 24 through May 24, 2015; and at the de Young Museum in San Francisco from June 20 through September 20, 2015. David Blayney Brown is Manton Curator of British Art, 1790-1850, Tate Britain, where Amy Concannon is assistant curator of British Art, 1790-1850. Sam Smiles is programme director for ArtHistory and Visual Culture at the University of Exeter. 
Price: 47.45 USD
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10 BUSCH, WERNER, Adolph Menzel: The Quest For Reality.
Getty Research Institute, Los Angeles: 2017. h Hardcover with dustjacket. Brand new book. 
The work of Adolph Menzel (1815-1905) is widely regarded as the epitome of realist art. From the very beginning of his career, he captured the beauty and horror of reality with unflinching precision, and he was a consummate master of atmosphere. A man of very short stature, Menzel was excluded from many aspects of life, and so his struggle with reality was also a struggle to assert himself. Werner Busch's compre- hensive new study sheds light on the biographical and historical events that shaped Menzel's work and the course it took. Menzel's paintings of the life of Frederick the Great still dominate our image of the monarch. Their modern perspective, however, neither glorified the king nor found favor with the Prussian royal family. After witness the horror of war in the aftermath of the Battle of Königgrätz, Menzel abandoned history painting. In Paris, he discovered the energy and bustle of the heroless metropolis; for the remainder of his career, he devoted himself to painting scenes of contemporary life. In this lavishly illustrated book, Busch examines the artist's multifaceted oeuvre and brings the long nineteenth century into aesthetic focus. 284 pages, 9 ķ 11 inches,137 color and 30 blach-and-white illustrations, hardcover. Werner Busch was professor of art history at the Freie Universität Berlin from 1988 to 2010. 
Price: 61.75 USD
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11 CASSIDY, DONNA M. Marsden Hartley: Race, Religion And Nation.
University of New Hampshire Press / University Press of New England, Hanover: 2005. 1584654465 / 9781584654469 h Hardcover with dustjacket. Brand new book. 
A provocative new reading of the great American avant-garde arist Marsden Hartley's late work. At the vanguard of renewed interest in Maine's influential early modernist Marsden Hartley (1877-1943), author Donna M. Cassidy brilliantly appraises the contemporary social, political, and economic realities that shaped Hartley's landmark late art. During the late 1930s and early 1940s, Hartley strove to represent the distinctive subjects of his native region—the North Atlantic folk, the Maine coast, and Mount Katahdin—producing work that demands an interpretive approach beyond art history's customary biographical, stylistic, and thematic methodologies. Cassidy, sensitive to the psychological and gender analysis traditionally central to interpretations of Hartley, becomes the first scholar to reassess his late work in light of contemporary American perceptions of race, ethnicity, place, and history. This remarkable new book resonates not only as a seminal Hartley study and a complex art and cultural period history, but as a superb example of applied early twentieth-century American intellectual history informed by an impressive command of primary and secondary interdisciplinary literature. Numerous and rich illustrations, as well as transcriptions of several key essays by Hartley, some never before published, including "This Country of Maine" (1937-38), round out this insightful, nuanced, and revolutionary treatment. Donna M. Cassidy's Marsden Hartley will engage general readers as well as scholars and students. "Despite his reputation as an aesthete unaffected by social concerns, Cassidy argues, Hartley's late paintings look like works by a savvy operator who reinvented himself as a native-born painter in order to take advantage of the newfound popularity of a state that had added the 'Vacationland' slogan to its license plates in 1936. Traveling to scenic parts of Maine he'd never visited before, Hartley drew inspiration for the expressionist paintings of lighthouses, Mount Katahdin, and the like that he painted before his death in 1943 from the postcards and brochures he picked up."—Boston Globe "[H]ighly readable, thoroughly researched, and thoughtfully conceived . . . Highly recommended."—Choice "This study represents a decade-and-a-half of the author's meticulous research, as she carefully reconstructs the social and cultural bases underpinning the representational strategies that Hartley adopted as he purposefully crafted his own artistic identity during the later phase of his career, circa 1934-43. Cassidy's text is itself an impressively multi-layered, composite work that is a product not only of modernist art history but of rigorous cross-disciplinary inquiry in American Studies and New England Studies. This book represents the product of the sustained thought and probing inquiry Cassidy has devoted to these fascinating and complicated subjects. Cassidy has produced an archivally solid and conceptually powerful account of Hartley that suggestively extends the familiar parameters of the artistic monograph, just as she critically repositions Hartley's paintings, writings, and rhetoric within an expanded—and evermore complex—College Art Reviews "Donna Cassidy offers us the most complete portrait we have of Marsden Hartley as an artist. Without ignoring the recent scholarship on Hartley's sexuality, Cassidy returns him to his own sense of himself—one he arrived at with great struggle, to be sure—as a native of Maine, an artist who said what he had to say through the means of his local landscape and neighbors. Building on a decade of her own work, Cassidy convincingly presents Hartley not as an isolated, tortured genius, but someone fully aware of the art world he is operating in, an arena that after the early 1920's was not 'modernist' but 'Americanist.' The larger issue the book tackles is modernism itself: it is a very welcome addition to the state of that question."—Bruce Robertson, Professor, University of California, Santa Barbara, Chief Curator, Art of the Americas, and Deputy Director, Art Programs, Los Angeles County Museum of Art "This is a fresh and forceful study. Cassidy places Hartley's writings and paintings of the late 1930s and early 1940s within the discourses of New England tourism, primitivism, Regionalism, and Nazism, giving us a complex picture of the aging artist seeking to become the 'painter from Maine.' Lucidly written, this book integrates art history and cultural studies in exemplary fashion."—Wanda M. Corn, Robert and Ruth Halperin Professor in Art History, Stanford University The Table of Contents of this book is as follows: Beyond Hartley the Modernist • I. Painting and Marketing Region • The "Painter from Maine" and New England Regionalism • Consumerism, Tourism, and Regional Art • II. Inventing the Past • Autobiography: Creating the Self, Region, and Nation • The Lincoln Portraits: Between Autobiography and Public History • Autobiography and Public History • Artifacts and the Historical Landscape • III. Representing the Folk • The Folk and the Modernist Primitive • The Working-Class Male Body: Masculinity, Homosexuality, and Nation • The North Atlantic Folk and Racial Discourse • Appendixes: Essays by Marsden Hartley - A "New England on the Trapeze" • B "The Six Greatest New England Painters" • C "On the Subject of Nativeness - A Tribute to Maine" • D "This Country of Maine" • "George Fuller" • "The Nordica Homestead" • "Fanny [sic] Hardy Eckstorm - Penobscot Man" • Notes • Bibliography • Index. Donna M. Cassidy is Professor of American & New England Studies and Art History at the University of Southern Maine, and the author of Painting the Musical City: Jazz and Cultural Identity in American Art, 1910-1940 (1997). "Cassidy has written a courageous book . . . show[ing] how Hartley integrated his prejudices into his artistic program. Hartley's art and life hold important lessons about the value of studying art in cultural context and the danger of the self-censorship that kept earlier generations of Americans from studying Nazi art and recognizing . . . uncomfortable links."—New York Times Book Review 
Price: 37.95 USD
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12 CHENEY, SHELDON. A World History Of Art.
The Viking Press, New York: 1946. Sixth Printing. h Hardcover, no dustjacket. Very good reading copy. Underlining on some pages. 
Accorrding to the author, "Throughout the writing of this book I have tried to keep in mind the man who has heard hopefully that art is important and rewarding, who wants a personal touch to it. I have pictured the average student or adult reader as desiring not so much facts as an introduction to the experience of art." Includes an Index. 
Price: 19.48 USD
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13 CHIPP, HERSCHEL B. WITH CONTRIBUTIONS BY PETER SELZ & JOSHUA C. TAYLOR. Theories Of Modern Art.
University of California Press, Berkeley and Los Angeles: 1968. 0520052560 / 9780520052567 Eighteenth Printing. s Softcover. Good condition. 
"A rich feast of letters, manifestos, reviews, interviews, and other writings relating to the study of modern art, carefully searched and methodically selected... book fills a need often cited by art historians and students to put the study of modern art on a sounder ideological basis." - Library Journal Includes an Index. 
Price: 20.66 USD
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14 CHU, PETRA TEN-DOESSCHATE & NING DING (EDITORS). Qing Encounters: Artistic Exchanges Between China And The West.
Getty Research Institute, Los Angeles: 2015. Issues & Debates Series. s Softcover. Brand new book. 
Qing Encounters: Artistic Exchanges between China and the West examines how the contact between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East- West divide. The essays in the volume reveal the extent to which images, artifacts, and natural specimens were traded and copied, and how these materials inflected both cultures' visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople on both continents borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex new creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period. 320 pages, 7 x 10 inches. 68 color and 45 black-and-white illustrations. Petra ten-Doesschate Chu is professor of art history and museum studies and director of graduate studies in Museum Professions at Seton Hall University. Ning Ding is professor of art history and theory and vice-dean at the School of Arts, Peking University. 
Price: 52.25 USD
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15 CLARK, KENNETH. Landscape Into Art.
John Murray, London: 1952. Third Printing. h Hardcover, no dustjacket. Very good condition. 
The chapters in this book are based on lectures given by the author as Slade Professor to the University of Oxford, the object of which should "make our English youth care sdomewhat for the arts." Includes over 100 images and an Index. 
Price: 14.20 USD
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16 CLARK, T. J. Picasso And Truth: From Cubism To Guernica.
Princeton University Press, Princeton: 2013. h Hardcover with dustjacket. Brand new book. 
Was Picasso the artist of the twentieth century? In Picasso and Truth, T. J. Clark uses his inimitable skills as art historian and writer to answer this question and reshape our understanding of Picasso's achievement. Supported by more than 200 images, Clark's new approach to the central figure of modern art focuses on Picasso after the First World War: his galumphing nudes of the early 1920s, the incandescent Guitar and Mandolin on a Table from 1924, Three Dancers done a year later, the hair-raising Painter and Model from 1927, the monsters and voracious bathers that follow, and finally--summing up but also saying farewell to the age of Cubism--the great mural Guernica. Based on Clark's A. W. Mellon Lectures in the Fine Arts, delivered at the National Gallery of Art, Picasso and Truth argues that the way to take Picasso's true measure as an artist is to leave behind biography--the stale stories of lovers and hangers-on and suntans at the beach that presently constitute the "Picasso literature"--and try to follow the steps of his pictorial argument. As always with Clark, specific works of art hold center stage. But finding words for them involves thinking constantly about modern culture in general. Here the book takes Nietzsche as guide. Is Picasso the artist Nietzsche was hoping for--the one come to cure us of our commitment to Truth? Certainly, as the dark central years of the twentieth century encroached, Picasso began to lose confidence in Cubism's comprehensiveness and optimism. Picasso and Truth charts this shift in vivid detail, making it possible for us to see Picasso turn away from eyesight, felt proximity, and the ground of shared experience--the warmth and safety that Clark calls "room-space"--to stake everything on a glittering, baffling, unbelievable here and now. And why? Because the most modernity can hope for from art, Picasso's new paintings seem to say, is a picture of the strange damaged world we have made for ourselves. In all its beauty and monstrosity. T. J. Clark is George C. and Helen N. Pardee Professor of Art History Emeritus at the University of California, Berkeley. He is the author of The Painting of Modern Life (Princeton), The Sight of Death, and Farewell to an Idea, and the coauthor of (with "Retort") Afflicted Powers. "[M]asterful. . . . This satisfyingly rigorous book is grounded in Picasso's paintings and drawings throughout."--Publishers Weekly "At his best, he is, simply, brilliant. At his worst, he is also brilliant."--Kevin Jackson, Literary Review "No art historian in our time has had a greater impact both within the field and beyond it than T. J. Clark. Everything he writes matters in the most fundamental way. His latest book, Picasso and Truth, is no exception--superbly observed, beautifully argued, a tour de force of looking, thinking, and writing."--Michael Fried, author of The Moment of Caravaggio "This is the Picasso book for which we have all been waiting. This work displaces biographical and psychological treatments of the artist from the past several decades, rendering them obsolete--and it forever changes art history in its present disposition."--Rosalind E. Krauss, Columbia University Table of Contents: Introduction 1 Lecture 1 Object 23 Lecture 2 Room 59 Lecture 3 Window 111 Lecture 4 Monster 147 Lecture 5 Monument 191 Lecture 6 Mural 235 Acknowledgments 285 Notes 289 Photography and Copyright Credits 311 Index 319 
Price: 42.75 USD
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17 CLAY, JEAN. From Impressionism To Modern Art.
Chartwell Books, Secaucus: 1980. 0890095442 / 9780890095447 h Hardcover with dustjacket. Good condition. 
The history of modern art from the death of Vincent van Gogh in 1890 to the end of World War I in 1918 has been organized by the French art critic and teacher around the six subjects that he considers to be the keys to the understanding of the revolutionary art of that lively period. Going beyond the traditional narration of events and the usual nominative and chronological divisions of art history, the techniques used in this book are based chiefly on a generous visual presentation of the works of the period, an incisive and penetrating analysis of each work reproduced, and the systematic employment of primary documents, many of them never before published. The six keys to understanding the art of the period 1890-1918, as identified by Jean Clay and used as the structure of this volume are color, distortion, the pulverized object, frontality, the real object, and movement. These themes reveal a lively and revolutionary age whose art was dominated by Henri Matisse, Pablo Picasso, Georges Braque, Juan Gris, Fernand Leger, Robert Delaunay, Paul Klee, Kazimir Malevich, Piet Mondrian, Marc Chagall, Giacomo Balla, Umberto Boccioni, and Wassily Kandinsky. 
Price: 73.86 USD
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18 COHEN, ADA (EDITOR); KANGAS, STEVEN E. Assyrian Reliefs From The Palace Of Ashurnasirpal II.
University Press of New England: 2010. First Edition. s Softcover. Brand new book. 
The well-known narrative images of the Assyrian king Ashurnasirpal II (883-859 B.C.E.) at war and at the hunt are discussed frequently in studies of ancient Near Eastern art. By comparison, the iconic reliefs depicting the ruler, his genies, and the "sacred tree," which are repeated over and over within the decorative scheme of Ashurnasirpal's palace in Nimrud, part of modern-day Iraq, are less studied and imperfectly understood by scholars. This volume of collected essays on the reliefs at Dartmouth College and related works in other museums across the United States and in international institutions sheds new light on their meanings, importance, and history. Following the discovery of the reliefs in the nineteenth century, institutions and individuals in Europe and North America competed to acquire them. The greatest number went into European collections in the countries of their discoverers, but "surplus" relief fragments, usually of supernatural figures and trees, were shipped to America, and many found their way to colleges and universities. The essays in this volume explore the iconography of the reliefs, the fascinating story of their discovery and dispersal throughout the West, their biblical connections, and their cultural, artistic, and historical meanings. The book takes the reader from the ancient world of Assyria to its modern rediscovery to the digital reconstruction of the Nimrud palace. Lavishly illustrated with over 115 color and 35 black-and-white images, Assyrian Reliefs from the Palace of Ashurnasirpal II will engage and inform the student, the scholar, as well as the museum visitor. 
Price: 37.76 USD
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19 CUTTLER, CHARLES D. Northern Painting: From Pucelle To Bruegel / Fourteenth, Fifteenth, And Sixteenth Centuries.
Holt, Rinehart & Winston, New York: 1968. 0030725003 / 9780030725005 Fourth Printing. s Softcover. Good condition. 
Offers an hisorical survey and analysis of the great artistic tradition that developed north of the Alps from the 14th to the 17th century. The period is one of extraordinary achievement in the history of Western art. Includes an Index. 
Price: 4.66 USD
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20 DE QUINCY, ANTOINE QUATREMťRE; POULOT, DOMINIQUE (INTRODUCTION). Letters To Miranda And Canova On The Abduction Of Antiquities From Rome And Athens
Getty Publications, Los Angeles: 2012. s Softcover. Brand new book. 
In the 1790s and early 1800s, the art world experienced two big events: First came the military confiscation of masterpieces from Italy and northern Europe in order to build a universal museum in Paris's Louvre. Then famous marble sculptures were prised from the Parthenon and sent to London. These events provoked reactions ranging from enthusiastic applause to enraged condemnation. The French art critic, architectural theoretician, and political conservative QuatremŹre de Quincy was at the center of the European debates. In his pamphlet Letters to Miranda, he condemns the revolutionary hubris of putting Rome in Paris and urges the return of the works. In the Letters to Canova, however, QuatremŹre celebrates the British Museum for making the Parthenon sculptures accessible. QuatremŹre's writing was highly controversial in its time. This book offers the first English translation of the two series of letters, as well as a new critical introduction. Antoine QuatremŹre de Quincy (1755-1849) was a French archaeologist, architectural theoretician, arts administrator, and influential writer. Dominique Poulot is professor of the history of art at the Université Paris 1 PanthŹon-Sorbonne. Chris Miller is a translator specializing in the fine arts. David Gilks is a Leverhulme Early Career Fellow at Queen Mary, University of London. 
Price: 47.50 USD
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