Based on little-known or hitherto unpublished material and enhanced by a wealth of rarely seen illustrations, this book offers access to the aesthetics of neoclassical Europe from a new perspective: landscape painting and interior decoration. The source documents, together with the nexus of relationships they helped to establish, reveal a world shaken by a series of epochal changes. This study of paintings, drawings, and documents touches on such themes as the rediscovery of the ancient world, aristocratic homes in the neoclassical period, and the birth of the rationalist landscape. While the most important artists are French, the chosen vantage point is Rome, because of the impact of antiquity on aesthetic perceptions toward the end of the century. The book insightfully analyzes the last years of the eighteenth century through the visual representation of that world, a world that has been handed down to us through the response of contemporary artists to momentous changes. This book portrays drawing as an instrument of knowledge: an absolute experience, not merely an intermediate phase in the production of a painting. Anna Ottani Cavina leads us to modernity, which through the rarefaction of the image, silence, and emptiness attained heights of emotional and intellectual intensity that drawing was able to capture with extraordinary immediacy.
Perhaps more than any other collector of his generation in the United States, Robert Lehman was interested in acquiring early drawings. He made a great effort to add drawings to the collection of paintings, sculpture, ceramics, glass, and other objects that his father, Philip Lehman, had begun assembling. The 116 Italian drawings analyzed and discussed in this volume are among the more than 2,000 works of art from the collection now housed in the Robert Lehman Wing of The Metropolitan Museum of Art. Robert Lehman's collection demonstrates the variety of drawings produced in Italy from the fifteenth to the seventeenth century, a period when the purposes and techniques of drawings, as well as the aims and abilities of the artist who made them, became increasingly sophisticated. The volume includes an elaborate design for an equestrian monument by Antonio Pollaiuolo, a magnificent study of a bear by Leonardo da Vinci, a cartoon by Luca Signorelli, a study for a vault fresco by Taddeo Zuccaro, and many other drawings that are among the best Italian examples to have survived from that era. Most types of drawings, in a wide variety of techniques, are represented—figure studies, grand compositions, landscapes, cartoons, modelli, and even sculptors' studies. -- Metropolitan Museum of Art website.
Barbro Santillo Frizell, Premessa; Marcello Barbanera, Agneta Freccero, Archeologia, architettura, restauro: lo studio di una collezione di antichit� come storia culturale; Marcello Barbanera, Agneta Freccero, Archeology, Architecture, Restoration: the Study of a Collection of Antiquities as Cultural History; Avvertenze e ringraziamenti; SAGGI: Daniela Candilio, Tutela e conservazione della collezione di antichit� di palazzo Lancellotti ai Coronari; Patrizia Cavazzini, Il palazzo e la famiglia Lancellotti nel primo Seicento; Paolo Sanvito, Il ruolo dei cortili nelle collezioni di antiquitates come luogo di rappresentazione del patriziato. Il caso di palazzo Lancellotti; Anna Anguissola, La storia della collezione Lancellotti di antichit�; Paolo Liverani, Le antichit� Lancellotti nei Musei Vaticani; Agneta Freccero, Made for Collections. Three Consuls and Sempronia; Marina Prusac, The Ninth Mask from the Temple of Venus and Roma?; Alessandro Danesi, Silvia Gambardella, Il restauro come mezzo di ricerca storica. La conservazione delle sculture di palazzo Lancellotti ai Coronari; Agneta Freccero, Changing Ideals in Conservation: CATALOGO: Antichit� nel Palazzo Lancellotti; Statue e teste ideali; Togati, busti e ritratti; Sarcofagi; Sculture e rilievi di carattere vario; Iscrizioni e altari funerari; Opere non antiche o di dubbia antichit�; Antichit� nei Musei Vaticani; Sculture; Sarcofagi; Dispersi e inaccessibili; Appendice; Bibliografia.
Based on little-known or hitherto unpublished material and enhanced by a wealth of rarely seen illustrations, this book offers access to the aesthetics of neoclassical Europe from a new perspective: landscape painting and interior decoration. The source documents, together with the nexus of relationships they helped to establish, reveal a world shaken by a series of epochal changes. This study of paintings, drawings, and documents touches on such themes as the rediscovery of the ancient world, aristocratic homes in the neoclassical period, and the birth of the rationalist landscape. While the most important artists are French, the chosen vantage point is Rome, because of the impact of antiquity on aesthetic perceptions toward the end of the century. The book insightfully analyzes the last years of the eighteenth century through the visual representation of that world, a world that has been handed down to us through the response of contemporary artists to momentous changes. This book portrays drawing as an instrument of knowledge: an absolute experience, not merely an intermediate phase in the production of a painting. Anna Ottani Cavina leads us to modernity, which through the rarefaction of the image, silence, and emptiness attained heights of emotional and intellectual intensity that drawing was able to capture with extraordinary immediacy.
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