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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 perptuel / 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 Nomie 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 / Gall Valrie Thomas, "Émile Gall and the Revue des arts dcoratifs," 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, Chichn Itza / 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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J. Paul Getty Museum in association with Muse 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 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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5 BOYLE, RICHARD. Double Lives: American Painters As Illustrators, 1850-1950.
New Britain Museum of American Art, New Britain: 2009. First Edition. s Softcover. Fair condition. 
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: 4.51 USD
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6 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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7 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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8 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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9 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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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: 20.43 USD
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11 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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12 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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13 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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14 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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15 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: 37.05 USD
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16 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 Universit 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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Shelburne Museum. s Softcover. Brand new book. 
Extreme manipulations of perspective unify the visual worlds of three of the most influential American painters of the twentieth century Painters N. C. Wyeth (1882-1945), Andrew Wyeth (1917-2009), and Jamie Wyeth (born 1946) all employ extreme perspective and imaginative disorientation to create tension within their works. Wyeth Vertigo explores this common theme and reexamines the role of this "first family" of American painting in the context of World War II, the Cold War, and beyond. Wyeth Vertigo will be of interest to students, scholars, and a general audience focused on American art, the Wyeth family, and mid-twentieth-century visual culture. 
Price: 30.35 USD
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The University of Chicago Press, Chicago: 1987. 0226143244 / 9780226143248 s Softcover. Good condition. The front cover is dogeared. 
In order to make a disturbance in the philosophy of art which still dominates discourse on painting, we will take a glimpse into the origins of painting. Includes an Index. 
Price: 38.48 USD
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19 EBERT-SCHIFFERER, SYBILLE. Caravaggio: The Artist And His Work.
Getty Publications, Los Angeles: 2012. h Hardcover with dustjacket. Brand new book. 
The young Michelangelo Merisi da Caravaggio (1571-1610) created a major stir in late-sixteenth-century Rome with the groundbreaking naturalism and highly charged emotionalism of his paintings. One might think, given the vast number of books that have been written about him, that everything that could possibly be said about the artist has been said. However, as the author of this book argues, it is important to take a fresh look at the often repeated and widely accepted narratives about the artist's life and work. Sybille Ebert-Schifferer subjects the available sources to a critical reevaluation, uncovering evidence that the efforts of Caravaggio's contemporaries to disparage his character and his artwork often sprang from their own cultural biases or a desire to promote the artistic achievements of his rivals. Contrary to repeated claims in the literature, the painter lacked neither education nor piety, but was an extremely accomplished technician who developed a successful marketing strategy. He enjoyed great respect and earned high fees from his prestigious clients while he also inspired a large circle of imitators. Even his brushes with the law conformed to the behavioral norms of the aristocratic Romans he sought to emulate. The beautiful reproductions of Caravaggio's paintings in this volume make clear why he captivated the imagination of his contemporaries, a reaction that echoes today in the ongoing popularity of his work and the fierce debate that it continues to provoke among art historians. Sybille Ebert-Schifferer is the director of the Bibliotheca Hertziana at the Max Planck Institute for Art History in Rome. She is the author of Still Life: A History (Abrams, 1999) and coeditor of Sacred Possessions: Collecting Italian Religious Art, 1500-1900 (Getty Publications, 2010). 
Price: 56.95 USD
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20 EKSTEINS, MODRIS. Solar Dance: Van Gogh, Forgery, And The Eclipse Of Certainty.
Harvard University Press, Cambridge, Massachusetts and London England: 2014. s Softcover. Brand new book. 
In Modris Eksteins's hands, the interlocking stories of Vincent van Gogh and art dealer Otto Wacker reveal the origins of the fundamental uncertainty that is the hallmark of the modern era. Through the lens of Wacker's sensational 1932 trial in Berlin for selling fake Van Goghs, Eksteins offers a unique narrative of Weimar Germany, the rise of Hitler, and the replacement of nineteenth-century certitude with twentieth-century doubt. Berlin after the Great War was a magnet for art and transgression. Among those it attracted was Otto Wacker, a young gay dancer turned art impresario. His sale of thirty-three forged Van Goghs and the ensuing scandal gave Van Gogh's work unprecedented commercial value. It also called into question a world of defined values and standards that had already begun to erode during the war. Van Gogh emerged posthumously as a hero who rejected organized religion and other suspect sources of authority in favor of art. Self-pitying Germans saw in his biography a series of triumphs—over defeat, poverty, and meaninglessness—that spoke to them directly. Eksteins shows how the collapsing Weimar Republic that made Van Gogh famous and gave Wacker an opportunity for reinvention propelled a third misfit into the spotlight. Taking advantage of the void left by a gutted belief system, Hitler gained power by fashioning myths of mastery. Filled with characters who delight and frighten, Solar Dance merges cultural and political history to show how upheavals of the early twentieth century gave rise to a search for authenticity and purpose. Modris Eksteins is Professor Emeritus of History at the University of Toronto, Scarborough. "Modris Eksteins's Solar Dance: Van Gogh, Forgery, and the Eclipse of Certainty tells the story of Wacker's deception and discovery, and of a cultural milieu eager to be taken in. He provides, in the early section, a lively but brief retelling of the familiar story of Van Gogh's tumultuous life and 1890 death. There follows a broad reconstruction of the artistic and cultural scene of Weimar-era Berlin—active, morally unmoored, gay, ripe for Nazi condemnation and takeover—and a loose but persistent argument that this period with its clash of values was the inflection point between the philosophical certainty of the 19th century and the doubt of the present… Eksteins's book does a fine job of chronicling the era's aesthetic confusion."—Graeme Wood, American Scholar "Modris Eksteins's subtle and engaging account of how Vincent van Gogh came to be strangled by his own success bestows a great gift: new strangeness. In 56 short sections, each linked to a van Gogh work, he interweaves the large fabric of culture, politics and money with the small, pedestrian tale of a man arrested in 1927 for offering 30 forged van Goghs for sale."—Mark Kingwell, The Globe and Mail (Notable Nonfiction Books, 2012) "Eksteins has a knack for pinpointing moments in the rise of Modernism that expose the deep social forces that have shaped our world… Our uncertainty about Van Gogh's work, he paradoxically suggests, is inextricably linked to the rupture of traditional ideology and morality that attracts us to the artist in the first place. Nowhere was the rupture more dramatic than in the final years of the Weimar Republic… With a saturation of cultural reference, Solar Dance conveys the heady atmosphere that made Berlin the first European capital to embrace the transforming potential of art in a secular age. Yet it also created the ideological void that ended in the rise of Hitler. Van Gogh was celebrated as a solitary genius whose paintings rebelled 'against the formalism of the establishment' and made 'the untamed decorative'; but the potential for fakery in his messy oeuvre, and for embellishment of his biography, risked introducing just the kind of 'fantasy world of myth and mastery' that drew people to National Socialism—a process Eksteins recounts in the final part of the book."—Hugh Eakin, The Wall Street Journal "Solar Dance vividly captures the large within the small. Van Gogh, or more precisely the cult and myth of Van Gogh, is central to our concept—so well-established we have forgotten how new it is—of the artist as tortured outsider and of art as the quintessential medium of protest and anger. And the virtually unknown Otto Wacker also turns out, in Eksteins's hands, to be a harbinger of our era of ceaseless copying and remixing, and our own crisis of authenticity."—Brian Bethune, Maclean's "Nowadays, van Gogh is no longer even an authentic madman; he is, instead, a textbook case of cultural over-determination, strangled by his own success. Modris Eksteins's subtle and engaging new book offers an account of how this came to be, and in telling it, Eksteins bestows a great gift: new strangeness… Eksteins tells his story in a suitably looping and layered manner, with many darts and artful reverses, using a range of knowledge and allusion reminiscent of his 1989 masterpiece, Rites of Spring."—Mark Kingwell, The Globe and Mail "Brilliant… Ecksteins' deeply researched historical study tells the story of the Van Gogh forgeries that flooded the German art market in the 1920s and the way that the counterfeiting of masterpieces was part and parcel of a larger cultural breakdown that destroyed German democracy… Eksteins is among the most erudite and perspicacious of scholars. In explaining the forgeries of the 1920s, he gives us an eye-opening and wide-ranging history of the Van Gogh cult, finding unexpected evidence of the painter's spectral influence in everything from a novel written by Joseph Goebbels to the childhood of the scientist J. Robert Oppenheimer to the fall of the Berlin Wall… The story of Wacker's unlikely rise and equally quick unraveling makes for compulsive reading, made especially gripping by Eksteins' sure-handed unfolding of the narrative… Eksteins is a major historian and Solar Dance, like everything he writes, deserves a wide and attentive readership."—Jeet Heer, National Post "Eksteins brings the exuberance and precariousness of the age, and of Berlin itself, to life with detail, wit, and a marvelously researched cast of characters. Coupled with the intriguing treatment of van Gogh as an amalgam of artist and celebrity, the component parts of which cannot be treated separately, this makes for fascinating reading."—Jan Dutkiewicz, Quill & Quire "Eksteins ambitiously surveys several features of late-19th- and 20th-century culture. He narrates the oft-told tale of struggling avant-garde artist Vincent van Gogh, whose 'value' is realized only after his death. In this lively discussion of the fragmentation and uncertainty of cultural canons in an age of dissolving traditional values, Ecksteins, author of the acclaimed Rites of Spring (1989), brings his erudition and knowledge of European cultural history to bear on the diverse visual and intellectual threads of the 20th century, weaving a tale that is part detective story and part probing cultural analysis. His cast of characters range from the Dutch artist who serves as the central 'sun' around which orbits the denizens of high and low culture, to the critically important early-20th-century German art critic and van Gogh biographer Julius Meier-Graefe, to the late-20th-century U.S. pop singer Don McLean, composer of the huge hit 'Vincent' ('Starry, Starry Night'). The myriad of fascinating links tying the painter to so many aspects of 20th- and 21st-century culture are, indeed, quite remarkable. With his sure command of the literature, Eksteins tells an intriguing tale of art and cultural authenticity."—M. Deshmukh, Choice "In Solar Dance: Van Gogh, Forgery, and the Eclipse of Certainty, Modris Eksteins takes us through a spectacular trial, as Wacker and his faked paintings were dragged in front of a German court to account for themselves. It's the captivating story of a changing world, of authenticity versus forgery, of money versus art, and the established order of experts and gallery owners and museum directors versus 'the little guy.'"—Jessa Crispin, Kirkus Reviews blog "In 1932 Berlin, a young man named Otto Wacker stood trial for art fraud and forgery of a number of Van Gogh paintings. The victim, Berlin's cultural scene, enabled the fraud as much as it suffered from it. Eksteins has interwoven a discussion of artistry—Van Gogh's vision of reality and his doubts about himself and the world—with an examination of the aspirations and volatility of the short-lived Weimar republic and the emergence of Nazism. Following World War I, Germany was economically devastated, despairing, and in a state of denial; and Berlin adopted Van Gogh as its iconic figure. The sudden 'discovery' of a trove of unknown Van Goghs, which had supposedly been in the possession of a Russian collector, found a willing market in the city. When Wacker's fraud was discovered, it shattered Berliners' faith in reliable standards and innate value… This is a fascinating story, combining art history with social commentary and political acumen. Interwar Germany is well drawn and the search for purpose and meaning is one all readers will recognize."—Paula Frosch, Library Journal "In a grand, rich, and incisive exploration, Eksteins examines van Gogh and the world of appearance, illusion, and fraud opened up by one of the century's most famous counterfeit cases: a trove of fake van Goghs that Berlin impresario Otto Wacker released onto the art market in the late 1920s. Eksteins introduces readers to a fascinating array of movers and shakers, from Van Gogh and Gauguin to the art dealer Paul Cassirer and his scandalous actress-wife Tilla Durieux, to Van Gogh's admirers, who included Joseph Goebbels, Bertolt Brecht, and Hermann Hesse. He explores the tawdry world of physical culture, inflationary economics, and experimental sexuality for which Weimar Berlin was the undisputed capital and moves his characters through the Edwardian peace of the pre-1914 era, into the world war, the shocking seasons of revolution, the tempests of the Weimar Republic, and finally into the Nazi era. Eksteins illuminates how a world of norms and expertise gave way to an unanchored, turbulent world in which art, creativity, and expression redefined political and cultural desire. More than simply an astute historical and cultural observation, Solar Dance offers a remarkable intellectual voice that drives a thesis about the compelling, appalling status of authenticity and illusion in the twentieth century."—Peter Fritzsche, author of The Turbulent World of Franz Göll: An Ordinary Berliner Writes the Twentieth Century 
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