Libros de Historia de la pintura y la escultura, página 39 de 291

"Documenta 12" reasons on a visual level. Artists are photographing the exhibition for a book of images: the artworks and the spaces, the spaces between the artworks, and the beautiful Kassel setting. This photo volume presents the art projects that were produced especially for documenta 12, as seen by twelve photographers commissioned for this book project. About documenta: documenta is regarded as the most important exhibition of contemporary art, drawing attention from all over the world. This international exhibition, often called the Hundred Day Museum became an unparalleled success. The number of visitors has continually risen. More than 650 thousand visitors came to documenta 11. Under continually changing directorship, and in the equally leisurely and inexorable rhythm of five years, documenta has advanced to become an authoritative worldwide seismograph of contemporary art. At documenta, it becomes manifest whether art is succeeding in grasping the world in images and whether these images have validity for its public.

Looking lovely and pure, peeking out from behind the clouds and forever doing good deeds, angels have forever been a favorite subject of artists. TASCHEN's Wall Calendars feature 12 big and beautiful reproductions, an elegant layout for the days of the month, and all official holidays for your country.

Aunque el culto al artista como un ser casi legendario se inició en el Renacimiento, fue en los inicios de la edad contemporánea cuando se definió y adquirió mayor relevancia el concepto de genio asociado de forma casi exclusiva a la creacion artistica. ¿Por que entre las mascaras funerarias, frecuentes en el XIX, abundan las que reproducen los rasgos de artistas?, ¿por que se conservan moldes de las manos de los mas grandes compositores?, ¿por que es tan dificil encontrar un pintor de este siglo cuyo rostro no conozcamos?, ¿por que dedicaron tanto tiempo a dejar constancia de si mismos y de otros artistas?El texto de Esperanza Guillen, partiendo de todas estas preguntas, nos habla acerca de la imagen que muchos de los artistas nos legaron sobre el modo en que imaginaban a los sujetos de su admiracion y analiza las razones teoricas de ese culto a la personalidad artistica basandose en los propios escritos redactados por pintores y escritores.

Las singulares narraciones del Génesis han cautivado a los artistas de todos los tiempos. Es difícil encontrar un pintor que no se haya dejado atrapar por esas imágenes deslumbrantes que van surgiendo, engarzadas en lenguaje de tintes miticos. El texto del Genesis pertenece a la Biblia del Oso, publicada en Basilea en 1569, la primera traduccion completa de la Biblia al castellano, realizada por el religiosos español Casiodoro de Reyna.

Paul Mellon (1907--1999) was an unparalleled collector of British art. His collection, now at Yale in the museum and study center he founded to house it, rivals those in Britains national museums and is unquestionably the most comprehensive representation of British art held outside of the United Kingdom. This book and the exhibition that it accompanies celebrate the centenary of his birth. Five introductory essays examine Mellons extraordinary collecting activity, as well as his role in creating both the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art in London as gifts to his alma mater (Yale 1929). A lavishly illustrated catalogue section showcases 148 of the most exquisite and important paintings, watercolors, drawings, prints, sculpture, rare books, and manuscript material in the Yale Centers collection, including major works by Thomas Gainsborough, Joshua Reynolds, George Stubbs, John Constable, and J. M. W. Turner. Brian Allen is director of studies at the Paul Mellon Centre for Studies in British Art. John Baskett is an independent scholar and former art advisor to Paul Mellon. His is author of The Horse in Art (Yale). Jules Prown, Paul Mellon Professor Emeritus of the History of Art, Yale University, was the founding director of the Yale Center for British Art, 196876. William Reese is an antiquarian bookseller based in New Haven. Duncan Robinson is director of the Fitzwilliam Museum and Master of Magdalen College, Cambridge University.

The Robert Lehman Collection at The Metropolitan Museum of Art houses one of the finest collections of frames in the world. Robert Lehman''s interest in picture frames set him apart from other collectors of his era. The collection he bequeathed to the Museum includes nearly four hundred frames, most of them Italian and French and dating from the fourteenth to the eighteenth century. Although he bought most of these frames to display his paintings and drawings, a number of them could only have been acquired as works of art in their own right. Like nearly all other European frames, the ones Robert Lehman collected have now been taken entirely out of context, the exception being the engaged moldings on early Italian panels. Most of the Italian frames, both the engaged moldings and the small cassette and astragal frames they inspired, probably hung in palazzi; the finest of the French frames were originally displayed among the gilt furniture and heavy fabrics that decorated luxurious northern European rooms. Using the documentary evidence that survives and his wide knowledge of comparable examples, Timothy Newbery has attempted to place each of these frames on the picture and in the interior for which it was intended, and for each he has provided a profile drawing that is a key to its design, origin, date, and application.

1000 great works of art from all periods and regions in the worldFollow-up to Phaidons phenomenally successful The Art Book An accessible, fun and informative compendium of world art, that offers an original and fresh way of looking at the whole of art history from 28,000 BC to the present day Debunks art historical classifications and hierarchies by presenting 1,000 masterworks of art in simple chronological order demonstrating what was being created all over the globe at the same time Only here can you find the Venus de Milo next to a mural from the Mayan civilization, Velasquez Las Meninas next to a jade wine cup made for the Shah of India and Picasso's Demoiselles d'Avignon side by side with door panels from a Nigerian palace Each work has been chosen for its unique place in the history of art, and as a representative example of the art of its culture By juxtaposing works of art from different cultures throughout time, this is the first book to offer a balanced appraisal of world art history, revealing the huge diversity, as well as the similarity of mans artistic achievements Each entry includes a full-page, colour image of the work and a concise descriptive text that sets the work in context, explaining its contribution to the development of art and the medium in which it was created A comprehensive index, illustrated timelines and a glossary of terms and movements make this book an invaluable reference tool and teaching resource

Reinhold BaumstarkDie Zeitgenossen ruhmten Parmigianino (1503-1540), einen der herausragenden Kunstler der Hochrenaissance, als neuen Raffael. Seine mit technischer Raffinesse ausgefuhrten Kompositionen prasentieren graziose Figuren von entruckter Schonheit in kuhl leuchtender Farbigkeit. Immer wieder widmete sich der in Parma, Rom und Bologna tatige Meister dem Thema der Maria mit Kind. Gut die Halfte seiner uns erhaltenen Gemalde sind Madonnenbilder - private Andachtsbilder ebenso wie groe Altartafeln. Die Alte Pinakothek bewahrt ein kostbares, kleines Madonnenbild, das zum altesten Bestand der Wittelsbachischen Sammlungen zahlt und stets als Werk Parmigianinos galt. Im 19. Jahrhundert wurde es seinem Schuler, Girolamo Mazzola Bedoli, zugewiesen. Neue, hier erstmals publizierte Forschungen belegen jedoch, dass die Zuschreibung an den Meister berechtigt ist. Fachautoren diskutieren ausfuhrlich die Autorschaftsfrage, die Herkunft und die Maltechnik des Munchner Bildes und erortern seine Stellung im Gesamtwerk Parmigianinos.