Catálogo de la exposición "Pintura europea del Museo de Bellas Artes de Valencia", que reúne las obras conservadas en la institución relativas a dicha disciplina artística desde el s. XIV hasta el s. XIX, comisariada por Fernando Benito Doménech y José Gómez Frechina y organizada de octubre de 2002 a enero de 2003 en el Museo de Bellas Artes de Valencia, con el apoyo del Consorcio de Museus de la Comunitat Valenciana, la Generalitat Valenciana y las Corts Valencianes.
Conservation of Easel Paintings, Second Edition provides a much-anticipated update to the previous edition, which has come to be known internationally as an invaluable and comprehensive text on the history, philosophy and methods of the treatment of easel paintings. Including 49 chapters written by more than 90 respected authors from around the world, this volume offers the necessary background knowledge in technical art history, artists’ materials and scientific methods of examination and documentation. Later sections of the book provide information about the varying approaches and methods for treatment and issues of preventive conservation, as well as valuable reflections on storage, shipping, and exhibition. Including exciting developments that have taken place since the last edition was published, the book also covers new techniques of examination, especially MacroXRF scanning and Reflectance Transmission Imagery. Drawing on research presented at recent professional conferences, information about innovative methods for cleaning modern and contemporary paintings and insights into modern oil paints is also included. Incorporating the latest regulations and understanding of health and safety practices and integrating theory with practice throughout, Conservation of Easel Paintings, Second Edition will continue to be an indispensable reference for practicing conservators. It will also be an essential resource for students taking conservation courses around the world.
This book examines the unique phenomenon of the pictorialization of Dürer's drawings. Representative Northern European painters in the sixteenth and seventeenth centuries - such as Hans Schäufelein, Jacob Hoefnagel and Jan Brueghel the Elder - reproduced Dürer's drawings, from single motifs to whole compositions in brilliant colors. This publication discusses the character of Dürer's workshop, preferences for drawings in Renaissance Germany, questions about authorship and ownership around works of art and the reception and adaptation of the Northern Renaissance art in the Prague Mannerism. It also demonstrates how in the course of the sixteenth century the evaluation of Dürer's drawings in Northern Europe changed.
Conservation of Easel Paintings is the first comprehensive text on the history, philosophy and methods of treatment of easel paintings integrating theory with practice. A guide to necessary background knowledge in technical art history, artists " materials, interviews with artists, scientific methods of examination and documentation precedes sections that present varying approaches and methods for treatment. This book concludes with the history and treatment of frames and a section featuring issues of preventive conservation, storage, shipping, exhibition, display, wall colours, and lighting. Extensive bibliographies at the end of each section point readers to additional resources. Conservation of Easel Paintings will be of use in the training of conservation students and will provide generations of practicing paintings conservators and interested art historians, curators, directors, collectors, dealers, artists, and students of art and art history with valuable information.
This volume aims to show through various case studies how the interrelations between Jews, Muslims and Christians in Iberia were negotiated in the field of images, objects and architecture during the Later Middle Ages and Early Modernity. . By looking at the ways pre-modern Iberians envisioned diversity, we can reconstruct several stories, frequently interwoven with devotional literature, poetry or Inquisitorial trials, and usually quite different from a binary story of simple opposition. The book’s point of departure narrates the relationship between images and conversions, analysing the mechanisms of hybridity, and proposing a new explanation for the representation of otherness as the complex outcome of a negotiation involving integration. Contributors are: Cristelle Baskins, Giuseppe Capriotti, Ivana Čapeta Rakić, Borja Franco Llopis, Francisco de Asís García García, Yonatan Glazer-Eytan, Nicola Jennings, Fernando Marías, Elena Paulino Montero, Maria Portmann, Juan Carlos Ruiz Souza, Amadeo Serra Desfilis, Maria Vittoria Spissu, Laura Stagno, Antonio Urquízar-Herrera.
The pace and scale of the exchange of cultural goods of all sorts&—paintings, furniture, even ladies' fans&—increased sharply in nineteenth-century Spain, and new institutions and practices for exhibiting as well as valorizing &"art&" were soon formed. Oscar V&ázquez maps this cultural landscape, tracing the connections between the growth of art markets and changing patterns of collecting. Unlike many earlier students of collecting, he focuses not upon questions of taste but rather upon the discursive and institutional frameworks that came to regulate art's economic and symbolic worth at all levels of Spanish society. Drawing upon sources that range from newspaper reviews to notarial documents, V&ázquez shows how collecting acquired the power to mediate debates over individual, regional, and national identity. His book also looks at the emergence of a new state apparatus for arts administration and situates these social and political changes in the broader European context. Inventing the Art Collection will be of interest to historians and sociologists of Spain and Europe, as well as art historians and cultural theorists.
The exhibition analyses the process through which devotion to the Immaculate conception was created and popularised in early modern Spain. While the Immaculate Conception only became dogma in 1854, as early as 1616 the Spanish Monarchy became a staunch supporter of the theory, turning its defence into a national priority. In the following years, the Immaculate Conception became Spain's most heartfelt devotion and a sign of national identity. Art played an important role in this process, amounting to what we may describe as a marketing campaign. This will be the focus of the Museo de Bellas Artes' forthcoming exhibition, featuring more than 50 paintings, sculptures, prints and books borrowed from notable Spanish museums and churches such as the Museo Nacional de Escultura de Valladolid, the Cathedral of Seville, the Biblioteca Nacional de España, and many others.
This comprehensive and richly illustrated catalogue focuses on the finest illustrated manuscripts produced in Europe during the great epoch in Flemish illumination. During this aesthetically fertile period – beginning in 1467 with the reign of the Burgundian duke Charles the Bold and ending in 1561 with the death of the artist Simon Bening – the art of book painting was raised to a new level of sophistication. Sharing inspiration with the celebrated panel painters of the time, illuminators achieved astonishing innovations in the handling of color, light, texture, and space, creating a naturalistic style that would dominate tastes throughout Europe for nearly a century. Centering on the notable artists of the period – Simon Marmion, the Vienna Master of Mary of Burgundy, Gerard David, Gerard Horenbout, Bening, and others – the catalogue examines both devotional and secular manuscript illumination within a broad context: the place of illuminators within the visual arts, including artistic exchange between book painters and panel painters; the role of court patronage and the emergence of personal libraries; and the international appeal of the new Flemish illumination style. Contributors to the catalogue include Maryan W. Ainsworth, curator of European paintings at the Metropolitan Museum of Art; independent scholar Catherine Reynolds; and Elizabeth Morrison, assistant curator of manuscripts at the Getty Museum. Illuminating the Renaissance is published in conjunction with an exhibition organized by the Getty Museum, the Royal Academy of Arts, London, and the British Library to be held at the Getty Museum from June 17 to September 7, 2003, and at the Royal Academy of Arts from November 25, 2003 to February 22, 2004.
Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
