"Janet Backhouse, who originally assembled the evidence that revealed this long-forgotten masterpiece, introduces the Hours of Louis XII and its cycle of miniatures. Thomas Kren discusses the book's provocative miniature of Bathsheba bathing within the context of the king's own taste and predilections and within the then-emerging genre of the female nude in French painting. Nancy Turner considers the importance of Bourdichon's painting and illuminating technique in the Hours of Louis XII in relation to his other work. Mark Evans examines the individual histories of each of the surviving portions of the book. Lastly, an appendix reconstructs the book's devotional contents and program of illumination."--BOOK JACKET.
Sassetta, the subtle genius from Siena, revolutionized Italian painting with an altarpiece for the small Tuscan town of Borgo San Sepolcro in 1437-1444. To produce this volume, experts in art and general history have joined forces across the boundaries of eight different nations to explore Sassetta's work.
One of our preeminent historians of race and democracy argues that the period since 2008 has marked nothing less than America’s Third Reconstruction In The Third Reconstruction, distinguished historian Peniel E. Joseph offers a powerful and personal new interpretation of recent history. The racial reckoning that unfolded in 2020, he argues, marked the climax of a Third Reconstruction: a new struggle for citizenship and dignity for Black Americans, just as momentous as the movements that arose after the Civil War and during the civil rights era. Joseph draws revealing connections and insights across centuries as he traces this Third Reconstruction from the election of Barack Obama to the rise of Black Lives Matter to the failed assault on the Capitol. America’s first and second Reconstructions fell tragically short of their grand aims. Our Third Reconstruction offers a new chance to achieve Black dignity and citizenship at last—an opportunity to choose hope over fear.
Leading French painters in the late medieval period executed miniatures for lavishly illuminated books of hours. In the mid-fifteenth century, Simon de Varie commissioned such a book. Completed in 1455, it included five priceless works by the most eminent French painter of the time, Jean Fouquet, as well as other striking paintings by two of his contemporaries. In the seventeenth century, Simon de Varie's book was divided into three sections and sold as separate volumes. Two of these volumes are today in the Royal Library in The Hague. The third volume--thought lost until 1984, when it surfaced in a private collection and was subsequently acquired by the Getty Museum--contains the first miniatures by Jean Fouquet to have been discovered in eighty years. This beautiful book will reproduce in color all of the miniatures and historiated initials in the original manuscript, along with selected text pages with secondary decoration. Comparative illustrations also accompany the two essays in the volume. Marrow's text addresses the role of books of hours in late medieval culture; the contents and form of de Varie's Hours; and the relationship of the miniatures by Fouquet to the rest of the artist's oeuvre. In a related essay, Francois Avril discusses the position of Simon de Varie and his family in mid-fifteenth-century France. The publication of The Hours of Simon de Varie adds to the Getty's impressive list of publications on illuminated manuscripts begun in 1990 and including the widely acclaimed facsimile Mira calligraphiae monumenta.
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.
Originally published in 1957—years before he was Secretary of State and winner of the Nobel Peace Prize—, Henry Kissinger wrote A World Restored, to understand and explain one of history’s most important and dramatic periods; a time when Europe went from political chaos to a balanced peace that lasted for almost a hundred years. After the fall of Napoleon, European diplomats gathered in a festive Vienna with the task of restoring stability following the French Revolution, the Napoleonic Wars, and the dissolution of the Holy Roman Empire. The central figures at the Congress of Vienna were the Foreign Secretary of the United Kingdom, Viscount Castlereagh and the Foreign Minister of Austria Klemens Wenzel von Mettern Metternich. Castlereagh was primarily concerned with maintaining balanced powers, while Metternich based his diplomacy on the idea of legitimacy—that is, establishing and working with governments that citizens accept without force. The peace they brokered lasted until the outbreak of World War I. Through trenchant analysis of the history and forces that create stability, A World Restored gives insight into how to create long-lasting geopolitical peace-lessons that Kissinger saw as applicable to the period immediately following World War II, when he was writing this book. But the lessons don’t stop there. Like all good insights, the book’s wisdom transcends any single political period. Kissinger’s understanding of coalitions and balance of power can be applied to personal and professional situations, such as dealing with a tyrannical boss or co-worker or formulating business or organizational tactics. Regardless of his ideology, Henry Kissinger has had an important impact on modern politics and few would dispute his brilliance as a strategist. For anyone interested in Western history, the tactics of diplomacy, or political strategy, this volume will provide deep understanding of a pivotal time.
Kant declared that philosophy began in 1781 with his Critique of Pure Reason. In 1806 Hegel announced that philosophy had now been completed. Eckart Förster examines the reasons behind these claims and assesses the steps that led in such a short time from Kant's "(Bbeginning" to Hegel's "(Bend." He concludes that, in an unexpected yet significant sense, both Kant and Hegel were indeed right. The Twenty-Five Years of Philosophy follows the unfolding of a key idea during this exceptionally productive period: the Kantian idea that philosophy can be scientific and, consequently, can be completed. Förster's study combines historical research with philosophical insight and leads him to propose a new thesis. The development of Kant's transcendental philosophy in his three Critiques, Förster claims, resulted in a fundamental distinction between "(Bintellectual intuition" and "(Bintuitive understanding." Overlooked until now, this distinction yields two takes on how to pursue philosophy as science after Kant. One line of thought culminates in Fichte's theory of freedom (Wissenschaftslehre), while the other--and here Förster brings Goethe's significance to the fore--results in Goethe's transformation of the Kantian idea of an intuitive understanding in light of Spinoza's third kind of knowledge. Both strands are brought together in Hegel and propel his split from Schelling. Förster's work makes an original contribution to our understanding of the classical era of German philosophy--an expanding interest within the Anglophone philosophical community.
Ever since its original publication in Germany in 1938, Max Schweidler's Die Instandetzung von Kupferstichen, Zeichnungen, Buchern usw has been recognized as a seminal modern text on the conservation and restoration of works on paper. To address what he saw as a woeful dearth of relevant literature and in order to assist those who have 'set themselves the goal of preserving cultural treasures, ' the noted German restorer composed a thorough technical manual covering a wide range of specific techniques, including detailed instructions on how to execute structural repairs and alterations that, if skilfully done, can be virtually undetectable. By the mid-twentieth century, curators and conservators of graphic arts, discovering a nearly invisible repair in an old master print or drawing, might comment that the object had been 'Schweidlerized.' This volume, based on the authoritative revised German edition of 1949, makes Schweidler's work available in English for the first time, in a meticulously edited and annotated critical edition. The editor's introduction places the work in its historical context and probes the philosophical issues the book raises, while some two hundred annotati
The 1921 Tulsa Race Riot was the country's bloodiest civil disturbance of the century. Thirty city blocks were burned to the ground, perhaps 150 died, and the prosperous black community of Greenwood, Oklahoma, was turned to rubble. Brophy draws on his own extensive research into contemporary accounts and court documents to chronicle this devastating riot, showing how and why the rule of law quickly eroded. Brophy shines his lights on mob violence and racism run amok, both on the night of the riot and the following morning. Equally important, he shows how the city government and police not only permitted looting, shootings, and the burning of Greenwood, but actively participated in it by deputizing white citizens haphazardly, giving out guns and badges, or sending men to arm themselves. Likewise, the National Guard acted unconstitutionally, arresting every black resident they found, leaving property vulnerable to the white mob. Brophy's stark narrative concludes with a discussion of reparations for victims of the riot through lawsuits and legislative action. That case has implications for other reparations movements, including reparations for slavery. "Recovers a largely forgotten history of black activism in one of the grimmest periods of race relations.... Linking history with advocacy, Brophy also offers a reasoned defense of reparations for the riot's victims."--Washington Post Book World
A beautifully designed and lavishly illustrated biography of one of Chicago's greatest lost buildings For six months in 1961, Richard Nickel, John Vinci, and David Norris salvaged the interior and exterior ornamentation of the Garrick Theater, Adler & Sullivan's magnificent architectural masterpiece in Chicago's theater district. The building was replaced by a parking garage, and its demolition ignited the historic preservation movement in Chicago. The Garrick (originally the Schiller Building) was built in 1892 and featured elaborate embellishments, especially in its theater and exterior, including the ornamentation and colorful decorative stenciling that would become hallmarks of Louis Sullivan's career. Reconstructing the Garrick documents the enormous salvaging job undertaken to preserve elements of the building's design, but also presents the full life story of the Garrick, featuring historic and architectural photographs, essays by prominent architectural and art historians, interviews, drawings, ephemera from throughout its lively history and details of its remarkable ornamentation--a significant resource and compelling tribute to one of Chicago's finest lost buildings. A seventy-two-page facsimile of Richard Nickel's salvage workbook is tipped into the binding.
