Libros de Arte moderno, página 7 de 44

Como los grandes pintores, nosotros tambien queríamos hacer un gran libro, que por motivos de espacio y edición se ha convertido en tres, y sumando los granitos de arena de los treinta autores que lo componen, hemos creado un gran castillo de treinta y siete plantas/capitulos, con tres sedes, que nos cuentan una bonita historia barroca que se extiende desde finales del siglo XVI hasta ayer, cuando cualquier imagen, ya sea naturalista, barroca, clasico-barroca, preciosista, de Olot, de repoblacion, popular, neo-barroca, neo-barroca gay, realista, hiperrealista, hipernaturalista, post Miñarro, post Zafra, post Buiza, post Duarte, post Suso de Marcos o 3D, fue compartida en una red social —,alguno a lo mejor hasta se hizo un selfie con ella—,, las queremos a todas.

"Si esta tierra es rica en manifestaciones artísticas de todos los periodos, casi con total seguridad uno de los productos estrella es la escultura "barroca", y utilizamos el termino barroco, no sin incumbir en error, de elevarnos sobre su enclave de temporalidad, para aludir a un arte cuyas claves sociales se han mantenido desde el siglo XVII hasta la actualidad, mas que a unas meras caracteristicas formales, que ha sabido reinventarse y crear nuevos lenguajes, formales, expresivos, creativos, etc. Probablemente sea en Andalucia, donde a lo largo de la Historia se hayan establecido las relaciones mas "humanamente" posibles, entre esculturas y personas. Pocas comunidades han vivido a lo largo de los tiempos una historia de "amor" tan pasional y tan duradera. Pensaran los escepticos, que poco puede hacer una escultura de madera, piedra, barro, o cualquiera otro material. La realidad, es que aqui en Andalucia, las imagenes sagradas cumplen un papel activo en la sociedad, tienen voz y voto, convivimos con ellas, las visitamos, nos preocupamos por su estado de "salud", y les pedimos que se preocupen por el nuestro, las consultamos, y escribimos sobre ellas. [[...]] Escultura Barroca Andaluza. De las grandes construcciones historiograficas a la diversidad de los microrrelatos,

El presente ensayo, cuya pretensión no es otra que repensar el arte moderno desde esa perspectiva, arranca, precisamente, ahí -en el Neoclasicismo-, y lo hace poniendo el acento en la exaltación narcisista -exaltacion del yo-, que sigue a ese momento de quiebra en el que el ser humano comienza a vivir sus emociones desconectadas de su razon, o su razon desconectada de sus emociones.

"Beyond the Palio "is an interdisciplinary collection of essays documenting the ritual events and ceremonies of Renaissance Siena. In the past, scholarly accounts of the ceremonies that took place during Siena''s early modern history have been overshadowed by its most well-known and most studied event, the Palio; a dramatic horse race staged on the city''s central square. In this volume, each essay assumes the focus of the role of ritual events viewed in an urban context. Common themes addressed, such as the use of public space, the inclusive and exclusiveness of participants, ephemera produced for events, and the implications of ceremonial practice, explore the different components, and the importance, of ritual life within the context of the Italian Renaissance. "Beyond the Palio" is an interdisciplinary collection of essays examining the components and importance of ritual events and ceremonies in Renaissance Siena. Brings together studies based upon diverse disciplinary and methodological approaches to a common theme. Provides specific case studies and useful comparisons to well-known monographic studies of ritual in Florence and Venice. Concentrates on a single city to emphasize the important function of public rituals to life during the early modern period. Looks at both local ritual life and the ways it was presented to and viewed by those outside the city.

Il volume e una monografia su Caravaggio: il volume contiene un ampio saggio storico-critico a cura di grandi esperti internazionali; la presentazione delle opere principali con schede di approfondimento e immagini puntuali; in appendice la biografia del maestro, la bibliografia aggiornata e un regesto topografico delle opere.

Dietro a parte della raccolta di dipinti attualmente conservata presso la Galleria Nazionale di Palazzo Spinola a Genova si cela il cardinal Giovan Battista Spinola, detto San Cesareo (1646-1719). Questo lavoro ne indaga la personalita, il ruolo politico svolto quale camerlengo di Clemente XI Albani, l''attivita di tutela di cui fu rigido promotore, ma anche i rapporti con gli artisti - in particolare con il conterraneo Gaulli - e con gli intellettuali legati all''Arcadia che ospitava nella sua residenza. Attraverso un''ampia ricognizione documentaria e archivistica, se ne mette il luce l''importante collezione di quadri, alcuni identificati nelle raccolte pubbliche e private di tutto il mondo e qui pubblicati per la prima volta: si tratta di opere di Reni, Cignani, Franceschini e naturalmente di Baciccio, ma anche di artisti meno noti quali Cavedone, Odazzi, Scilla, Vanni.

This intriguing book draws for the first time a complete picture of the artistic and political connections between Rubens and the Stuart court. Fiona Donovan examines the works the great Flemish artist created for English patrons, his relationships with English courtiers beginning in 1616, and his nine-month diplomatic mission to London in 162930. She focuses particular attention on the series of nine canvases that Rubens painted for the Banqueting House ceiling of Whitehall Palacea project that is considered by many to be the most significant work of art ever commissioned by the English Crown. Rubenss iconographic scheme for the Whitehall ceiling presented English courtiers with a complex pictorial language not seen before in Great Britain. Donovan explores the artists allegorical imagery and provides fresh insights into the role the work of Rubens and continental culture played in politics and society at the court of Charles I. Fiona Donovan is an art historian.

The greatest painter of eighteenth-century Italy, Giambattista Tiepolo was both a master of the vivid colors, palpable movement, and dramatic, emotional scenes that characterize baroque art, and an expert in the later rococo style, which ushered in a lighter palette and looser brushwork. In "Tiepolo: The Complete Paintings," Filippo Pedrocco provides a comprehensive examination of the paintings produced by this remarkable artist. Though Tiepolo began his career in his native city of Venice, his artistic prowess quickly brought him into contact with some of Europe''s most influential figures. Kings and queens, princes and patriarchs commissioned him to decorate the walls and ceilings of their palaces in Venice, Milan, and Wurzburg with grand canvases and frescoes. Monks, nuns, and even archbishops requested religious paintings for their churches and cathedrals in Bergamo, Vicenza, and Nymphenburg. The patronage of the rich and powerful brought Tiepolo fame and a string of masterpieces to serve as his legacy. Included in this stunning volume are all of the artist''s paintings, each illustrated and expertly discussed by the author, a specialist in Venetian painting. Experience both the large-scale decorative frescoes, many of which are still in situ and therefore not widely accessible to the general audience, and the smaller, yet equally moving altarpieces, such as the Martyrdom of Saint Agatha, executed for the famous pilgrimage church of Saint Anthony in Padua. Through Tiepolo''s masterful art the lavish opulence of eighteenth-century Italy is vividly brought to life.

Nel 2006 il Ministero degli Affari Esteri ha intrapreso un ventaglio di iniziative di assistenza tecnica a beneficio dei Musei della Repubblica di Serbia. Una di queste era mirata ad aggiornare le capacita professionali e le pratiche di intervento dei restauratori delle istituzioni nazionali serbe su una particolare tipologia di manufatti artistici, i dipinti su tavola. Questo processo si e sviluppato attraverso una serie di seminari teorico-pratici sulle metodologie e le pratiche di restauro, e un vero e proprio cantiere-scuola. La scelta e caduta sulla Sacra Conversazione di Palma il Vecchio, un capolavoro dell''arte veneziana della prima meta del XVI secolo appartenente alle collezioni del Museo Nazionale e conservato presso il Palazzo Reale di Belgrado: un oggetto ideale su cui realizzare gli interventi nel quadro del cantiere-scuola, dato il suo eminente valore artistico e le precarie condizioni di conservazione. Questo volume contiene i rapporti tecnico-scientifici relativi all''opera di restauro del dipinto veneziano e le sintesi delle lezioni teoriche, che potranno essere utilizzate anche per future iniziative. Ne emerge con chiarezza la descrizione di una "storia di successo" nel quadro di quel settore della politica di Cooperazione allo Sviluppo condotta dal Ministero degli Affari Esteri dedicato alla protezione del patrimonio culturale, che rappresenta oggi uno degli ambiti di intervento all''estero di maggiore impatto e visibilita per il nostro "sistema paese".

Cet ouvrage propose une synthèse vivante et éclairante de l'oeuvre des artistes du XVe siècle communément appelés les "Primitifs français", à la fois peintres de tableaux, de retables et d'enluminures, La France connaît, entre 1430 et 1490, une période fondamentale participant pleinement du grand mouvement européen qui vit s'épanouir plus au nord, en Flandre, des artistes comme Van Eyck et Van der Weyden, et en Italie Piero della Francesca, Fra Angelico, Masaccio... Les oeuvres des maîtres ici présentés proposent en quelque sorte une synthèse originale entre les peintures flamande et italienne. A l'instar de la peinture siennoise, il s'agit moins d'une école que d'une manière de peindre qui découvrait les valeurs de lumière et d'ombre et suggérait la profondeur par le jeu du dégradé des couleurs. Alors que les Flamands s'attachaient à la minutie du détail réaliste et que les Italiens se polarisaient sur la perspective, les Français, eux, choisissaient une voie médiane, très novatrice sur le plan de la lumière. Beaucoup de ces artistes, à la fois peintres de tableaux, de retables et enlumineurs, ont adopté pour la peinture les techniques descriptives qu'ils avaient découvertes pour les miniatures. Deux pôles géographiques se dégagent : - Avignon (c'est la fameuse "école d'Avignon") et Aix : Enguerrand Quarton, Barthelémy d'Eyck, Nicolas Froment, Josse Lieferinxe, Jean Changenet, le Maître de Boulbon... - Paris et la Touraine : Jean Fouquet, Jean Hey (le Maître de Moulins)...

Comprende un estudio pormenorizado das pinturas murais que aparecen nas catedrais de Lugo, Mondoñedo, Ourense, Tui e Santiago de Compostela, nos séculos XVI-XVIII.

La arquitectura y las demás artes del periodo barroco representaban el mendo como el escenario de un gran teatro: la ostentación de los papas de Roma, el boato en la corte del Rey Sol, la pintura holanedesa... son reflejos de diferentes aspectos de la idea de un orden divino.

Leonardo is the greatest, most multi-faceted and most mysterious of all Renaissance artists, but extraordinarily, considering his enormous reputation, this is the first full-length biography in English for several decades. Prize-winning author Charles Nicholl has immersed himself in manuscripts, paintings and artefacts to produce an intimate portrait of Leonardo. He uses these contemporary materials - his notebooks and sketchbooks, eye witnesses and early biographies, etc - as a way into the mental tone and physical texture of his life and has made many discoveries about him, his work and his circle of associates. The book identifies what Nicholl argues is an unknown portrait of the artist hanging in a church near Lodi in northern Italy. It also contains new material on his eccentric assistant Tomasso Masini, his homosexual affairs in Florence, and his curious relationship with a female model and/or prostitute from Cremona. A masterpiece of modern biography.

Siena flourished as a major artistic center during the Italian Renaissance, fuelled by the patronage of powerful and wealthy families, and the results were remarkable for their virtuoso beauty and strong sense of civic identity. This is the first major book in English to showcase a breathtaking and diverse range of masterpieces and discuss in depth how art was shaped...

La arquitectura y las demás artes del periodo barroco representaban el mundo como cl escenario de un gran teatro: la ostentación de los papas en Roma, cl boato en la corte del Rey Sol, la pintura holandesa... son reflejos de diferentes aspectos de la idea de un orden divino.