Libros de Historia de la pintura y la escultura, página 40 de 291

Expanding interdisciplinary investigations into gender and material culture, Katherine A. McIver here adds a new dimension to Renaissance patronage studies by considering domestic art the decoration of the domestic interior as opposed to patronage of the fine arts (painting, sculpture and architecture). Taking a multidimensional approach, McIver looks at women as collectors of precious material goods, as organizers of the early modern home, and as decorators of its interior. By analyzing the inventories of women''s possessions, McIver considers the wide range of domestic objects that women owned, such as painted and inlaid chests, painted wall panels, tapestries, fine fabrics for wall and bed hangings, and elaborate jewelry (pendant earrings, brooches, garlands for the hair, necklaces and rings) as well as personal devotional objects. Considering all forms of patronage opportunities open to women, she evaluates their role in commissioning and utilizing works of art and architecture as a means of negotiating power in the court setting, in the process offering fresh insights into their lives, limitations, and the possibilities open to them as patrons. Using her subjects'' financial records to track their sources of income and the circumstances under which it was spent, McIver thereby also provides insights into issues of Renaissance women''s economic rights and responsibilities. The primary focus on the lives and patronage patterns of three relatively unknown women, Laura Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina, provides a new model for understanding what women bought, displayed, collected and commissioned. By moving beyond the traditional artistic centers of Florence, Venice and Rome, analyzing instead women''s artistic patronage in the feudal courts around Parma and Piacenza during the sixteenth century, McIver nuances our understanding of women''s position and power both in and out of the home. Carefully integrating extensive archival research with a set of important critical inquiries, McIver offers up a well-balanced picture of domestic space, subject and object in and against the conventions of Italian Renaissance art history. By moving beyond the usual artistic centers of Florence, Venice, and Rome, McIver nuances our understanding of women''s position and power both in

Wayne E. FranitsIn the hush of early morning, a dutiful mother butters bread for her young son, who patiently stands at her side. This splendid painting captures a trivial moment in a family's daily routine and makes it almost sacrosanct. A Woman Preparing Bread and Butter for a Boy was executed by the Dutch painter Pieter de Hooch (1629-1684) between 1661 and 1663. The J. Paul Getty Museum's canvas is one of the artist's many pictures depicting women and children engaged in daily activities. This book examines the painting in relation to the artist's life and work, exploring his stylistic development and his complex relationship to other painters in the Dutch Republic. The author places the subject matter of the painting within the broader context of seventeenth-century Dutch concepts of domesticity and child rearing and ties it to social and cultural developments in the Netherlands during the second half of the seventeenth century.

Nach einer Lehrzeit bei Rembrandt in Amsterdam suchte der Maler Auftrage an den furstlichen Hofen in den vom Dreiigjahrigen Krieg verwusteten Landern: uber Stuttgart, 1656, Prag, Dresden,1659-60, Wien, Ungarn, Salzburg kam er an den Hof des Furstbischofs von Freising, wo er als Hofmaler angestellt wurde, aber kaum verheiratet und sesshaft geworden, jung starb, aus Gram uber einen verlorenen Kunstlerwettbewerb, wie Joachim Sandrart berichtet. Das Freisinger Dommuseum wird mit dieser ersten monographischen Ausstellung den genialen Maler der Offentlichkeit vorstellen und so ein neues Licht auf die deutsche Kunst des Barock werfen.

The Metropolitan Museums extraordinary holdings of Dutch paintings include works by Frans Hals, Rembrandt van Rijn, Johannes Vermeer, Pieter de Hooch, Gerard ter Borch, and others. This lively and accessible account traces the formation of the Metropolitans collection from its beginnings in 1871 to the present day. The book discusses the key role of prominent philanthropists Henry G. Marquand, Henry O. and Louisine Havemeyer, Collis Potter and Arabella Huntington, Benjamin Altman, Michael Friedsam, Jules Bache, Robert Lehman, Jack and Belle Linsky, and Frits and Rita Markus. Esmee Quodbach is research assistant in the Department of European Paintings at The Metropolitan Museum of Art .

From fine art paintings by such artists as Stubbs and Landseer to zoological illustrations and popular prints, a vast array of animal images was created in Britain during the century from 1750 to 1850. This highly original book investigates the rich meanings of these visual representations as well as the ways in which animals were actually used and abused. What Diana Donald discovers in this fascinating study is a deep and unresolved ambivalence that lies at the heart of human attitudes toward animals. The author brings to light dichotomies in human thinking about animals throughout this key period: awestruck with the beauty and spirit of wild animals, people nevertheless desired to capture and tame them; the belief that other species are inferior was firmly held, yet at the same time animals in stories and fables were given human attributes; though laws against animal cruelty were introduced, the overworking of horses and the allure of sport hunting persisted. Animals are central in cultural history, Donald concludes, and compelling questions about themthen and nowremain unanswered. Diana Donald was formerly head of the Department of History of Art and Design at Manchester Metropolitan University. She is author of the prize-winning book, The Age of Caricature: Satirical Prints in the Age of George III, published by Yale University Press.

L''impratrice Josphine fut au dbut du XIXe sicle la plus lgante des souveraines d''Europe. Aprs avoir t l''une des merveilleuses les plus en vue du Directoire, Josphine, en pouse exemplaire, dpensa sans compter afin de plaire Napolon et de rpondre ses exigences de promotion des industries textiles. A travers une s1 slection des pus somptueuses robes de bal et d''apparat, chles d''toffes rares et souliers dlicats ayant appartenu a la souveraine, Claudette Joannis, conservateur en chef au muse de Malmaison et responsable de la collection textile, livre '''' une chronique savante et anecdotique de la socit impriale ou domine Josphine en vritable impratrice de la mode

This interdisciplinary anthology explores the representation of everyday life across several disciplines in a century known for its interest in individual experience of the mundane as well as the heroic. Comprised of essays by established and emerging scholars of literature, art, and music history, the volume explores not merely the range of performances under the banner of the everyday, but also the meanings inherent in these attempts to create art out of the experience of the "real." In this collection, the authors attempt to provide a wide-ranging picture of the many ways in which the notion of "the everyday" is a valuable conceptual frame through which the eighteenth century may be apprehended, as this critical term allows for issues of gender, race, and class to come into focus. Alden Cavanaugh is Associate Professor of Art History at Indiana State University.

One of Jacques-Louis Davids most ambitious and darkly enigmatic paintings, Leonidas at the Pass of Thermopylae, hangs today in the Louvre, largely ignored. Focusing on this painting, Chains embarks on a discourse about the perception of the body, sexuality, and subjectivity in early nineteenth-century European art. In addition to David, Chains explores the sculptural oeuvre of Davids contemporary and rival, Italian sculptor Antonio Canova. Padiyar argues that, like Davids postrevolutionary work, Canovas innovative sculptures embodied a new, distinctively modern type of subjectivity. The book aims to take a fresh view of the status of the male body in the work of these two late neoclassical artists by linking them in novel, sometimes unexpected ways with key figures of the late Enlightenment. In postrevolutionary Europe, philosophical and literary figures such as Immanuel Kant and the Marquis de Sade pushed the language of neoclassicism to its limits. Chains argues that such innovations produced a new, distinctively sexed, politicized, and aestheticized heroic male body that emerged as an incidental aftereffect of the French Revolution.