From the Antiquity to the 20th century, this sculpture collection offers a truly original vision of Western art. Here are the most sensual and harmonious masterworks to the most provocative and minimalist sculptures. Sculpture shapes the world and our concept of beauty, leaving everlasting silhouettes and always creating new intriguing ones. These masterworks are the mirror of an era, of an artist and his public and through this sculpture gallery, one visits not only the history of art, but history as a whole. Between the acclaimed ideals of beauty and the most controversial works, 1000 Sculptures of Genius will give you a true panoramic view of Western sculpture. Along with numerous references, comments on masterworks, and biographies, this work enables the reader to rediscover the Western world heritage and is the perfect guide for art students and statuary lovers.
Explore the beauty and history of Mount Vernon—and the inquisitive, independent mind of its famous architect and landscape designer. Winner of the John Brinkerhoff Jackson Book Prize of the Foundation for Landscape Architecture On the banks of the Potomac River, Mount Vernon stands, with its iconic portico boasting breathtaking views and with a landscape to rival the great gardens of Europe, as a monument to George Washington’s artistic and creative efforts. More than one million people visit Mount Vernon each year—drawn to the stature and beauty of Washington’s family estate. Art historian Joseph Manca systematically examines Mount Vernon—its stylistic, moral, and historical dimensions—offering a complete picture of this national treasure and the man behind its enduring design. Manca brings to light a Washington deeply influenced by his wide travels in colonial America, with a broader architectural knowledge than previously suspected, and with a philosophy that informed his aesthetic sensibility. Washington believed that design choices and personal character mesh to form an ethic of virtue and fulfillment and that art is inextricably linked with moral and social concerns. Manca examines how these ideas shaped the material culture of Mount Vernon. Based on careful study of Washington’s personal diaries and correspondence and on the lively accounts of visitors to his estate, this richly illustrated book introduces a George Washington unfamiliar to many readers—an avid art collector, amateur architect, and leading landscape designer of his time.
Mantegna; humanist, geometrist, archaeologist, of great scholastic and imaginative intelligence, dominated the whole of northern Italy by virtue of his imperious personality. Aiming at optical illusion, he mastered perspective. He trained in painting at the Padua School where Donatello and Paolo Uccello had previously attended. Even at a young age commissions for Andrea’s work flooded in, for example the frescos of the Ovetari Chapel of Padua. In a short space of time Mantegna found his niche as a modernist due to his highly original ideas and the use of perspective in his works. His marriage with Nicolosia Bellini, the sister of Giovanni, paved the way for his entree into Venice. Mantegna reached an artistic maturity with his Pala San Zeno. He remained in Mantova and became the artist for one of the most prestigious courts in Italy – the Court of Gonzaga. Classical art was born. Despite his links with Bellini and Leonardo da Vinci, Mantegna refused to adopt their innovative use of colour or leave behind his own technique of engraving.
From the early Renaissance through Baroque and Romanticism to Cubism, Surrealism, and Pop, these canonical works of Western Art span eight centuries and a vast range of subjects. Here are the sacred and the scandalous, the minimalist and the opulent, the groundbreaking and the conventional. There are paintings that captured the feeling of an era and those that signaled the beginning of a new one. Works of art that were immediately recognised for their genius, and others that were at first met with resistance. All have stood the test of time and in their own ways contribute to the dialectic on what makes a painting great, how notions of art have changed, to what degree art reflects reality, and to what degree it alters it. Brought together, these great works illuminate the changing preoccupations and insights of our ancestors, and give us pause to consider which paintings from our own era will ultimately join the canon.
El congreso Discrete Mathematics Days (DMD20/22) tendrá lugar del 4 al 6 de julio de 2022, en la Facultad de Ciencias de la Universidad de Cantabria (Santander, España). Este congreso internacional se centra en avances dentro del campo de la Matemática discreta, incluyendo, de manera no exhaustiva: · Algoritmos y Complejidad · Combinatoria · Teoría de Códigos · Criptografía · Geometría Discreta y Computacional · Optimización Discreta · Teoría de Grafos · Problemas de localización discreta y temas relacionados Las ediciones anteriores de este evento se celebraros en Sevilla (2018) y Barcelona (2016), estos congresos heredan la tradición de las Jornadas de Matemática Discreta y Algorítmica (JMDA), el encuentro bienal en España en Matemática Discreta (desde 1998). Durante la celebración del congreso tendrán lugar cuatro conferencias plenarias, cuarenta y dos presentaciones orales y una sesión de once pósteres. Abstract The Discrete Mathematics Days (DMD20/22) will be held on July 4-6, 2022, at Facultad de Ciencias of the Universidad de Cantabria (Santander, Spain). The main focus of this international conference is on current topics in Discrete Mathematics, including (but not limited to): Algorithms and Complexity Combinatorics Coding Theory Cryptography Discrete and Computational Geometry Discrete Optimization Graph Theory Location and Related Problems The previous editions were held in Sevilla in 2018 and in Barcelona in 2016, inheriting the tradition of the Jornadas de Matemática Discreta y Algorítmica (JMDA), the Spanish biennial meeting (since 1998) on Discrete Mathematics. The program consists on four plenary talks, 42 contributed talks and a poster session with 11 contributions.
This book concerns the art and life of the Ferrarese painter Ercole de Roberti (1456-1496)). Roberti's style was marked by the fascinating peculiarities characteristic of the Ferrarese school of the fifteenth century, while we can also see the influence on his style of artists such as Giovanni Bellini and Netherlandish engravers. He worked for years in Bologna before settling permanently in 1486 in Ferrara, where he became the official court painter for the Este. An introductory section includes a brief history and description of Ferrarese art of the Quattrocentro. The text includes an outline of Roberti's career, a discussion of his works, and a look at the artist's critical fortunes. A catalogue raisonne and a catalogue of rejected attributions supplement the text. A transcription of all of the known documents indicates the full range of Roberti's work. Roberti's works were highly prized by his contemporaries and later Renaissance writers, and his paintings and drawings are made with fine skill and craftsmanship. It is hoped that this book will help to acquaint the reader with Roberti's rich and inventive art.
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