The medieval palaces of Venice are unlike those from anywhere else and they also survive in this equally unique city in far greater numbers. This well-presented study argues, however, that contrary to other opinions, the architecture of Venice was developed from that of northern and western Europe and not from that of Byzantium and Late Antiquity.
In this ambitious and imaginative study, Margaretta M. Lovell analyzes the large body of accomplished, sometimes startling, often brilliant work of American artists drawn to Venice's ragged splendor in the last century. Including major works by such diverse and talented painters as James McNeill Whistler, John Singer Sargent, and Maurice Prendergast, these richly varied paintings portray sleepy canals, architectural monuments, and scenes of picturesque everyday life while they also reveal surprising aspects of American culture.
"Palaces of Venice" presents 62 great buildings from the 13th to the 19th century. Hundreds of full-colour photographs show the exteriors and the interiors of the palazzi and the text relates the fascinating history of each architectural masterpiece.
A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.
#1 New York Times Bestseller Winner, IACP Cookbook Award for Food Photography & Styling (2013) Baked goods that are marvels of ingenuity and simplicity from the famed Bouchon Bakery The tastes of childhood have always been a touchstone for Thomas Keller, and in this dazzling amalgam of American and French baked goods, you'll find recipes for the beloved TKOs and Oh Ohs (Keller's takes on Oreos and Hostess's Ho Hos) and all the French classics he fell in love with as a young chef apprenticing in Paris: the baguettes, the macarons, the mille-feuilles, the tartes aux fruits. Co-author Sebastien Rouxel, executive pastry chef for the Thomas Keller Restaurant Group, has spent years refining techniques through trial and error, and every page offers a new lesson: a trick that assures uniformity, a subtlety that makes for a professional finish, a flash of brilliance that heightens flavor and enhances texture. The deft twists, perfectly written recipes, and dazzling photographs make perfection inevitable.
In 1406 a young Venetian nobleman, Marin Contarini, married into another ancient patrician clan. His wife's family owned an old palace on the Grand Canal. Contarini demolished the old palace and, in 1421, he began to build the C... d'Oro, his 'House of Gold'. This 1993 book tells the history of the building of the palace over a period of nearly twenty years. After a general introduction to the city of Venice at the beginning of the quattrocento, Dr Goy discusses the background to the building of the palace. There follows a discussion of the building industry in Venice in this flourishing period, and of the functions of the three chief building crafts. In the latter half of the study, the whole building process is recreated in detail; the relationships between Contarini and his craftsmen are analysed, as is the pivotal role of Contarini himself, the architect manqué whose monument this was to become.