This long awaited English edition of Manuale per la conservazione e il restauro di disegni e stampe antichi (1991) offers a clear and complete manual for the preservation and conservation of old master prints and drawings. The authors throw light on the historical and scientific backgrounds concerning the problems of restoration techniques of arts on paper, from 1150, when paper was first introduced in Europe, until the middle of the nineteenth century. The book is indispensable for anyone occupied with the study and conservation of old prints and drawings. This richly illustrated, first English edition is revised and brought fully up to date.
Masterly works, in a variety of media, by Dürer, Rembrandt, Titian, Rubens, Lorrain, van Ruisdael, Watteau, Gainsborough, Fragonard, Turner, Constable, Corot and many more. High-quality, inexpensive edition.
Masterpieces of drawing from the great schools and traditions of Italy and northern Europe, spanning four centuries from Filippino Lippi, Andrea del Sarto, and Titian to Rembrandt, Van Dyck, and Ingres. 47 plates.
The art of portraiture approached its apex during the sixteenth century in Europe with the discovery of oil painting when the old masters developed and refined techniques that remain unsurpassed to this day. The ascendance of nonrepresentational art in the middle of the twentieth century displaced these venerable skills, especially in academic art circles. Fortunately for aspiring artists today who wish to learn the methods that allowed the Old Masters to achieve the luminous color and subtle tonalities so characteristic of their work, this knowledge has been preserved in hundreds of small traditional painting ateliers that persevered in the old ways in this country and throughout the world. Coming out of this dedicated movement, Portrait Painting Atelier is an essential resource for an art community still recovering from a time when solid instruction in art technique was unavailable in our schools. Of particular value here is a demonstration of the Old Masters’ technique of layering paint over a toned-ground surface, a process that builds from the transparent dark areas to the more densely painted lights. This method unifies the entire painting, creating a beautiful glow that illuminates skin tones and softly blends all the color tones. Readers will also find valuable instruction in paint mediums from classic oil-based to alkyd-based, the interactive principles of composition and photograph-based composition, and the anatomy of the human face and the key relationships among its features. Richly illustrated with the work of preeminent masters such as Millet, Géricault, and van Gogh, as well as some of today’s leading portrait artists—and featuring seven detailed step-by-step portrait demonstrations—Portrait Painting Atelier is the first book in many years to so comprehensively cover the concepts and techniques of traditional portraiture.
Offering cultural, historical and literary readings of the responses to Italian Old Master art by early nineteenth-century writers, McCue illuminates the important role these artworks played in shaping the themes that are central to our understanding of Romanticism. She argues that they informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period’s political, social and commercial realities.
When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives? By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors, Old Masters and Young Geniuses offers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of discovery over a lifetime. Experimental innovators work by trial and error, and arrive at their major contributions gradually, late in life. In contrast, conceptual innovators make sudden breakthroughs by formulating new ideas, usually at an early age. Galenson shows why such artists as Michelangelo, Rembrandt, Cézanne, Jackson Pollock, Virginia Woolf, Robert Frost, and Alfred Hitchcock were experimental old masters, and why Vermeer, van Gogh, Picasso, Herman Melville, James Joyce, Sylvia Plath, and Orson Welles were conceptual young geniuses. He also explains how this changes our understanding of art and its past. Experimental innovators seek, and conceptual innovators find. By illuminating the differences between them, this pioneering book provides vivid new insights into the mysterious processes of human creativity.
Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."
