The 300th birthday of Empress Maria Theresa provides an opportunity to examine her outstanding interest in the fine arts. At the invitation of the reforming monarch a large number of painters, sculptors and other artists in Austria and abroad found a wealt h of work opportunities. Correspondingly, this era has left its mark on the countries of the former Habsburg monarchy to this day. Maria Theresa pursued an individual approach with regard to cultural policy. She was interested in reform not only in educati on, but also in the field of art. She commissioned contemporary artists and helped portrait painting to a new upswing, leading not least to the international consolidation of the newly formed House of Habsburg - Lorraine. This was the function also fulfilled by the allegorical paintings and ceiling frescoes for which impressive cartoons have survived. Landscape painting was highly esteemed, and finally outstanding masterpieces were produced in sculpture and three - dimensional works, for example by Balthasar Fe rdinand Moll and Franz Xaver Messerschmidt.
"Explores the intersections between monarchy, gender, and art through an investigation of the visual and architectural culture of the eighteenth-century Habsburg empress Maria Theresa"--Provided by publisher.
The 300th birthday of Empress Maria Theresa provides an opportunity to examine her outstanding interest in the fine arts. At the invitation of the reforming monarch a large number of painters, sculptors and other artists in Austria and abroad found a wealth of work opportunities. Correspondingly, this era has left its mark on the countries of the former Habsburg monarchy to this day. Maria Theresa pursued an individual approach with regard to cultural policy. She was interested in reform not only in education, but also in the field of art. She commissioned contemporary artists and helped portrait painting to a new upswing, leading not least to the international consolidation of the newly formed House of Habsburg-Lorraine. This was the function also fulfilled by the allegorical paintings and ceiling frescoes for which impressive cartoons have survived. Landscape painting was highly esteemed, and finally outstanding masterpieces were produced in sculpture and three-dimensional works, for example by Balthasar Ferdinand Moll and Franz Xaver Messerschmidt. Exhibition: Unteres Belvedere, Vienna, Austria (30.06.-05.11.2017).
A major new biography of the iconic Austrian empress that challenges the many myths about her life and rule Maria Theresa (1717–1780) was once the most powerful woman in Europe. At the age of twenty-three, she ascended to the throne of the Habsburg Empire, a far-flung realm composed of diverse ethnicities and languages, beset on all sides by enemies and rivals. Barbara Stollberg-Rilinger provides the definitive biography of Maria Theresa, situating this exceptional empress within her time while dispelling the myths surrounding her. Drawing on a wealth of archival evidence, Stollberg-Rilinger examines all facets of eighteenth-century society, from piety and patronage to sexuality and childcare, ceremonial life at court, diplomacy, and the everyday indignities of warfare. She challenges the idealized image of Maria Theresa as an enlightened reformer and mother of her lands who embodied both feminine beauty and virile bellicosity, showing how she despised the ideas of the Enlightenment, treated her children with relentless austerity, and mercilessly persecuted Protestants and Jews. Work, consistent physical and mental discipline, and fear of God were the principles Maria Theresa lived by, and she demanded the same from her family, her court, and her subjects. A panoramic work of scholarship that brings Europe's age of empire spectacularly to life, Maria Theresa paints an unforgettable portrait of the uncompromising yet singularly charismatic woman who left her enduring mark on the era in which she lived and reigned.
“Attention, ‘Game of Thrones’ fans: The most enjoyably sensational aspects of medieval politics—double-crosses, ambushes, bizarre personal obsessions, lunacy and naked self-interest—are in abundant evidence in Nancy Goldstone's The Maid and the Queen.” (Laura Miller, Salon.com) Politically astute, ambitious, and beautiful, Yolande of Aragon, queen of Sicily, was one of the most powerful women of the Middle Ages. Caught in the complex dynastic battle of the Hundred Years War, Yolande championed the dauphin's cause against the forces of England and Burgundy, drawing on her savvy, her statecraft, and her intimate network of spies. But the enemy seemed invincible. Just as French hopes dimmed, an astonishingly courageous young woman named Joan of Arc arrived from the farthest recesses of the kingdom, claiming she carried a divine message-a message that would change the course of history and ultimately lead to the coronation of Charles VII and the triumph of France. Now, on the six hundredth anniversary of the birth of Joan of Arc, this fascinating book explores the relationship between these two remarkable women, and deepens our understanding of this dramatic period in history. How did an illiterate peasant girl gain access to the future king of France, earn his trust, and ultimately lead his forces into battle? Was it only the hand of God that moved Joan of Arc-or was it also Yolande of Aragon?
A sumptuously illustrated history of Rome, the Eternal City—the capital of Italy and world art—as captured by painters from the Antiquity through the twentieth century, in one luxurious hardcover volume with slipcase. From its ancient status as the jewel of an empire to its modern incarnation as a troubled, yet culturally vibrant European capital, Rome has compelled the imagination of artists for over two thousand years. Now, in The History of Rome in Painting, that entire span is brought to life through the visions of the greatest painters of the past millennium. As two previous Abbeville volumes, The History of Paris in Painting and The History of Venice in Painting, did for their respective cities, Rome provides the most luxurious possible visual presentation of one of the world’s most beautiful places. Editors Maria Teresa Caracciolo and Roselyne de Ayala, with the help of six other expert contributors, guide the reader through the colorful and tumultuous history of the Eternal City, from its humble origins as a village on the Palatine Hill to the cultural explosion of the Renaissance, from its reinvention as the capital of modern Italy to the watershed of the Lateran Treaty and beyond. Here you will find portraits of the city’s most famous and controversial leaders—from Julius Caesar to Mussolini—as well as its long succession of popes and aristocratic families. Depicted also, in brilliant detail, are the city’s architectural and sculptural landmarks: Saint Peter’s Basilica, Trajan’s Column, the Fontana di Trevi, and many more. With its more than three hundred full-color illustrations, including four spectacular gatefolds; its insightful text, written by leading art historians; and its valuable apparatus, including capsule biographies of 175 artists; The History of Rome in Painting is an important achievement in scholarship and publishing and a fitting tribute to the Eternal City. It is a true feast for art lovers, travelers, and historians alike. In art history as in the ancient Empire, "all roads lead to Rome"; here in one volume is the city as generations of painters have sought it, dreamed it, and captured it for all time. Like its predecessors The History of Venice in Painting and The History of Paris in Painting, it belongs in every art lover’s library.
An astonishing group of sixty-nine “Character Heads” by German sculptor Franz Xaver Messerschmidt (1736–1783) has fascinated viewers, artists, and collectors for more than two centuries. The heads, carved in alabaster or cast in lead or tin alloy, were conceived outside the norm of conventional portrait sculpture and explore the furthest limits of human expression. Since their first exposure to the public in 1793, artists, including Egon Schiele (1890–1918), Francis Bacon (1909–1992), Arnulf Rainer (born 1929), and, more recently, Tony Cragg (born 1949) and Tony Bevan (born 1951), have responded to their overwhelming visual power. Lavishly illustrated, Messerschmidt and Modernity presents remarkable works created by and inspired by Messerschmidt, an artist both of and ahead of his time. The Character Heads situate the artist’s work squarely within the eighteenth-century European Enlightenment, with its focus on expression and emotion. Yet their uncompromising style stands in sharp contrast to the florid Baroque style of Messerschmidt’s earlier sculptures for the court of Empress Maria Theresa of Austria. With their strict frontality and narrow silhouettes, the Character Heads appear to contemporary eyes as having been conceived in a “modern” aesthetic. Their position at the apparent limits of rational art have made them compelling to successive generations of artists working in a variety of media.
Provides step-by-step instruction for leatherworking projects suitable for beginners, and also covers more advanced techniques, and includes information on tools, materials, and a glossary.
Out of the thrilling and tempestuous eighteenth century comes the sweeping family saga of beautiful Maria Theresa, a sovereign of extraordinary strength and vision, the only woman ever to inherit and rule the vast Habsburg empire in her own name, and three of her remarkable daughters: lovely, talented Maria Christina, governor-general of the Austrian Netherlands; spirited Maria Carolina, the resolute queen of Naples; and the youngest, Marie Antoinette, the glamorous, tragic queen of France, perhaps the most famous princess in history. Unfolding against an irresistible backdrop of brilliant courts from Vienna to Versailles, embracing the exotic lure of Naples and Sicily, this epic history of Maria Theresa and her daughters is a tour de force of desire, adventure, ambition, treachery, sorrow, and glory. Each of these women's lives was packed with passion and heart-stopping suspense. Maria Theresa inherited her father's thrones at the age of twenty-three and was immediately attacked on all sides by foreign powers confident that a woman would to be too weak to defend herself. Maria Christina, a gifted artist, who alone among her sisters succeeded in marrying for love, would face the same dangers that destroyed the monarchy in France. Resourceful Maria Carolina would usher in the golden age of Naples only to then face the deadly whirlwind of Napoleon. And, finally, Marie Antoinette, the doomed queen whose stylish excesses and captivating notoriety have masked the truth about her husband and herself for two hundred and fifty years.
Elisabeth Louise Vigée Le Brun (1755–1842) was one of the finest eighteenth-century french painters and among the most important women artists of all time. Celebrated for her expressive portraits of French royalty and aristocracy, and especially of her patron Marie Antoinette, Vigée Le Brun exemplified success and resourcefulness in an age when women were rarely allowed either. Because of her close association with the queen Vigée Le Brun was forced to flee France during the French Revolution. For twelve years she traveled throughout Europe, painting noble sitters in the courts of Naples, Russia, Austria, and Prussia. She returned to France in 1802, under the reign of Emperor Napoleon I, where her creativity continued unabated. This handsome volume details Vigée Le Brun's story, portraying a talented artist who nimbly negotiated a shifting political and geographic landscape. Essays by international scholars address the ease with which this self-taught artist worked with monarchs, the nobility, court officials and luminaries of arts and letters, many of whom attended her famous salons. The position of women artists in Europe and at the Salons of the period is also explored, as are the challenges faced by Vigée Le Brun during her exile. The ninety paintings and pastels included in this volume attest to Vigée Le Brun's superb sense of color and expression. They include exquisite depictions of counts and countesses, princes and princesses alongside mothers and children, including the artist herself and her beloved daughter, Julie. A chronology of the life of Vigée Le Brun and a map of her travels accompany the text, elucidating the peregrinations of this remarkable, independent painter.
