The Baroque period was crucial for the development of art theory and the advancement of the artistic academy. This collection of primary sources brings this important period to life with significant documents and texts. It conveniently assembles major texts, which are otherwise available only in scattered publications. The lives of leading artists--Caravaggio, El Greco, among others---are discussed by their contemporaries, while Bellori, Galileo, Pascoli, and others write on art theory and practice. The documents provide fascinating glimpses of the period's artistic self-image.
The major historians of ancient Rome wrote their works in the firm belief that the exalted history of the Roman Empire provided plentiful lessons about individual behavior, inspiration for great souls, and warnings against evil ambitions, not to mention opportunities for rich comedy. The examples of Rome have often been resurrected for the opera stage to display the exceptional grandeur, glory, and tragedy of Roman figures. In this volume, Robert C. Ketterer tracks the changes as operas’ Roman subjects crossed generations and national boundaries. Following opera from its origins in seventeenth-century Venice to Napoleon’s invasion of Italy, Ketterer shows how Roman history provided composers with all the necessary courage and intrigue, love and honor, and triumph and defeat so vital for the stirring music that makes great opera.
Mies van der Rohe, master of modern architecture, declared that “Architecture starts when you carefully put two bricks together.” In Travels in the History of Architecture, renowned architectural writer Robert Harbison takes a closer look at these bricks, providing an engaging and concise companion to the great themes and aesthetic movements in architecture from antiquity to the present day. Travels in the History of Architecture beings its journey with the great temples of the Egyptians and the shrines of Classical Greece and Rome and then provides a complete survey of architecture through the present day. Each chapter of this dynamic and approachable volume focuses on a movement in architectural history, including Byzantine, Baroque, Mannerism, Historicism, Functionalism, and Deconstruction. Unique to this work is Harbison’s wide-ranging approach, which draws on references and examples outside of architecture—from literature, art, sculpture, and history—to further illustrate and contextualize the themes and ideas of each period. For example, the travel writing of Pausanias illustrates the monuments of ancient Greece, a poem in praise of marble decoration reveals how the builders of the cathedral of Hagia Sophia viewed their creation, and a French rococo painting speaks to the meaning behind the design of the English landscape garden. Original, yet authoritative, Travels in the History of Architecture will be in an indispensable guide for everyone curious to know more about the world’s most famous structures, as well as for students of art and architectural history seeking a definitive introduction.
Leon Battista Alberti (1404-72) - writer, painter and sculptor, mathematician and, most famously, architectural theorist and architect - came closer than anyone to the Renaissance ideal of the 'complete man'. Recognised by his contemporaries as an extraordinary person, he helped to shape, through his writings and his practical example in the arts, the way in which the natural and artificial world was perceived and represented during the Renaissance.
The vitality of Petersson's book is drawn directly from the sculpture of Bernini, an artist now regarded as the true successor of Michelangelo. It differs from others by bringing the reader inside the sculptural process, from genesis to completed form. Frequently Bernini had to solve uniquely interesting problems and his innovative talents never faltered." "As well as presenting the brilliant, flamboyant Bernini, the book simultaneously displays Rome in the throes of its Counter-Reformation renewal, the second birth of the city with the full panoply of its arts, culture, and aberrant activities during Bernini's years in the service of eight popes. In later life he expanded his fame by spending an eventful half year in Paris at the invitation of Louis XIV. The proud and touchy Bernini, then the most celebrated artist in Europe, was in a pitched battle with the arrogant and aggressive French. Yet in Paris as in Rome it is the artistic works that have lasted and are widely known as having redirected the course of European sculpture."--BOOK JACKET. Book jacket.
After 500,000 miles of free travel, this expert advises how to receive free accommodations, cruises, package tours, and more. He reveals that "there is such a thing as a free lunch, (and) one can eat it in Tahiti, Bermuda, Singapore, Rio, or wherever one chooses".
During the Middle Ages, artistic ideas were transmitted from one region to another and passed on from one generation to the next, in the form of drawings. This kind of handmade reproduction, 'exemplum' in Latin, was used to record the form and content of works of art. Some of those drawings have survived in 'model books'. The author presents a fascinating account of many and various aspects of these drawings with special emphasis on how they contribute to our understanding of the genesis of medieval works of art. Exemplum will be a standard work of reference for many years to come
One of the most important series of drawings in late-sixteenth-century Italian art--the twenty large sheets by Federico Zuccaro (ca. 1541-1609) showing the early life of his older brother, Taddeo (1529-1566)--was acquired by the J. Paul Getty Museum in 1999. Never fully published, the series shows Taddeo's trials and tribulations as a young artist trying to achieve success in Renaissance Rome, and his eventual triumph. The drawings contain charming details of the life of a struggling artist and reveal much about the younger brother, Federico, a successful artist in his own right. This volume--published to coincide with an exhibition at the J. Paul Getty Museum to be held from October 1, 2007, to January 6, 2008--presents Federico Zuccaro's twenty drawings and accompanying poems in their historical and artistic context and will be of interest to art historians and general readers alike. Of particular importance is its examination of the role of the copying of masterworks in the training of young Renaissance artists.
The Baroque period was crucial for the development of art theory and the advancement of the artistic academy. This collection of primary sources brings this important period to life with significant documents and texts. It conveniently assembles major texts, which are otherwise available only in scattered publications. The lives of leading artists--Caravaggio, El Greco, among others---are discussed by their contemporaries, while Bellori, Galileo, Pascoli, and others write on art theory and practice. The documents provide fascinating glimpses of the period's artistic self-image.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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