Italian baroque sculpture often has been criticized for portraying a sham world, distracting the spectator from its spiritual poverty by dazzling technical displays. Bruce Boucher offers a fresh view of this rich and varied subject, published to coincide with the 400th anniversary of the births of 17th-century artists Bernini and Algardi. 200 illustrations. 35 in color.
This anthology presents classic and recent scholarship on Italian art from 1600-1750, highlighting the key debates with which art historians continue to grapple. Explores themes including: style or the visuality of art; artistic practices and production; artistic communication as projected and experienced; and artists’ interactions with the ancient world and with the new sciences Examines the work of key painters, architects and sculptors from this period, including Caravaggio, Bernini, Guarini and Poussin Published in the expanding Blackwell Anthologies in Art History series
Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.
Body and Soul is the catalogue of the exhibition held from 21 October to 19 November 2010 at Moretti Fine Art Gallery - Adam Williams Fine Art Gallery (20 East 80th Street, New York City). The catalogue presents great masterpieces of Italian Renaissance and Baroque sculpture. It was supervised by Andrew Butterfield and Fabrizio Moretti, two of the world's foremost experts of antique trade. The sculptures that the book deeply analyzes all have something in common: they combine ideality and naturalism of form with intensity and depth of expression, so that both the outer appearance and the inner life of the character represented manage to emerge. In short, not even one of these sculptures submitted to the strict academic rules which have always influenced art. They were selected because they celebrate life in every single aspect, both physical and spiritual. Among the artists whose works are here described are Andrea Del Verrocchio, Jacopo Sansovino, Andrea Riccio, Alessandro Algardi, Domenico Pieratti, Giambattista Foggini, Pierre Le Gros, Giuseppe Mazzuoli, Giuseppe Piamontini and Giovachino Fortini. The book includes introductions by Andrew Butterfield, Fabrizio Moretti and Marc Fumaroli as well as in-depth essays by Andrea Bacchi, Andrew Butterfield, C. D. Dickerson, Marc Fumaroli, Giancarlo Gentilini, Tomaso Montanari and Riccardo Spinelli, providing historical and technical information. The volume is rich in colour images and each essay is accompanied by a detailed bibliography.
Delivered at the turn of the twentieth century, Riegl's groundbreaking lectures called for the Baroque period to be judged by its own rules and not merely as a period of decline.
Creative Art: Methods and Materials educates readers about a variety of art methods and the ways different civilizations have used them in artistic expression. Each of the fourteen chapters is designed around a specific art method and material, and includes examples of art works and the artists who created them. Students learn about bronze casting, stone carving, clay sculpture, woodcuts and posters, glass work, and installation art. Each method is matched to artists both ancient and modern. Rather than adhering to a standard approach that focuses on white, male, European artists, the book broadens the student's perspective by including often overlooked female artists. Global in approach and comprehensive in coverage of arts forms, representations, and styles throughout history, Creative Art has been developed for sixteen-week courses in art appreciation, or introductory survey courses in art history.
Genoa completed its transformation from a faded maritime power into a thriving banking center for Europe in the seventeenth century. The wealth accumulated by its leading families spurred investment in the visual arts on an enormous scale. This volume explores how artists both foreign and native created a singularly rich and extravagant expression of the baroque in works of extraordinary variety, sumptuousness, and exuberance. This art, however, has remained largely hidden behind the facades of the city's palaces, with few works, apart from those by the school's great expatriates, found beyond its borders. As a result, the Genoese baroque has been insufficiently considered or appreciated.0Lavishly illustrated, 'A Superb Baroque' is comprehensive, encompassing all the major media and participants. Presented are some 140 select works by the celebrated foreigners drawn to the city and its flourishing environment. Offering three levels of exploration-essays that frame and interpret, section introductions that characterize principal currents and stages, and texts that elucidate individual works-this volume is by far the most extensive study of the Genoese baroque in the English language.00Exhibition: National Gallery of Art, Washington, DC, USA (03.05.-16.08.2020) / Scuderie del Quirinale, Rome, Italy (03.10.2020 - 10.01.2021).
Examines the designs of Italian buildings in the baroque and rococo architectural styles and discusses the careers of architects such as Gianlorenzo Bernini, Francesco Borromini, and Pietra da Cortona
Taking the Noli me tangere and Doubting Thomas episodes as a focal point, this study examines how visual representations of two of the most compelling and related Christian stories engaged with changing devotional and cultural ideals in Renaissance and Baroque Italy. By reuniting their visual examples with important, often little-known textual sources, the authors reveal a complex relationship between visual imagery, the senses, contemporary attitudes toward gender, and the shaping of belief.
