"A master of composition and technique, De Vries was relatively unknown until the J. Paul Getty Museum's groundbreaking 1999 exhibition, Adriaen de Vries: Imperial Sculptor, which firmly established the artist's reputation and afforded a rare opportunity to study in depth a large group of bronzes. This heavily illustrated volume presents the results of the technical study of twenty-five bronzes from the exhibition. Introductory chapters provide background on the artist and technical methodologies. Subsequent chapters present case studies of individual statues, revealing the methods and materials used in their creation"--Publisher's website.
This beautifully illustrated volume, published in conjunction with a landmark exhibition at The Fan Museum, Greenwich, gathers together a marvellous group of over 40 fans and fan leaves dating from the reign of Louis XIV.In this fascinating book, daily life and times at the court of the 'Sun King', including well-known figures such as Madames de Montespan and Maintenon, as well as other royal and court figures, visiting dignitaries and national events, are discussed in considerable detail. Many scenes are set in the grounds of Versailles and these are identified by the author, whose impeccable research provides the gossip 'straight from the horse's mouth'. All this is presented in the vehicle of the folding fan, which rose to prominence under Louis XIV. He inspired subject matter for painted fan leaves, and moreover imposed strict etiquette at court involving the use (and non-use) of fans.
The archaeological finds at Herculaneum and Pompeii have rendered Naples an especially rich field for the study of the history of restorations, particularly of ancient bronzes. Bringing together the research of an international group of curators, conservators, archivists, and scientists, this extensively illustrated online volume examines the evolving practice of bronze restoration in Naples and other European centers from the eighteenth century to today. Presenting the results of new investigations, this collection of essays and case studies addresses the contexts in which the restorations took place, the techniques and materials used, the role of specialists, and changing attitudes to the display of these statues. Along with a rich selection of images, these texts offer a significant contribution to the history of restoration and conservation, providing valuable information regarding the evolution of taste and museum practices at a formative stage of modern archaeology. The essays collected here were written following a series of presentations at a one-day conference, “Restoring Ancient Bronzes in the Nineteenth Century,” held at the J. Paul Getty Museum on May 6, 2011. Each illustrated essay is accompanied by a separate gallery of large-format images to facilitate study and analysis. Edited by Erik Risser, associate conservator in the Department of Antiquities at the J. Paul Getty Museum, and David Saunders, assistant curator in the Department of Antiquities at the J. Paul Getty Museum, this collection is part of the Getty’s ongoing commitment to the online publication of scholarly conferences and symposia.
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.
European sculptors of the Neoclassical period often modelled their works in clay before producing finished pieces in marble. This book offers a comprehensive overview of Neoclassical terracotta models by European artists, featuring the works of0. Pajou, Houdon, and Canova, among many others.
By exploring the intense interaction between painting and printmaking between art theory and unbridled artistic ambition, Printing the Grand Manner breaks new ground in its analysis of both the reproductive prints and Le Brun's original compositions. --Book Jacket.
"This exhibition challenges the reasons why sculpture is usually considered alone, in the gallery, and the decorative arts are considered as part of a period setting. It suggests that by breaking away from these conventional categories we can see how sculpture is also part of a spatial conversation, and how furniture and fittings can be appreciated as unique works." "With five original essays and forty complete catalogue entries, this publication both documents an exhibition and goes beyond it, opening our eyes to the fluidity of formal language in the 'long' eighteenth century, and to the ways in which objects can change according to whether they are seen together or apart, as mobile or fixed, as two- or three-dimensional, as ideal or as functional." --Book Jacket.
