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APPEL Karel. Herbert Read.
PAINTINGS.
Londres, Wildensteiun & Co. Ltd, 1975. In-8, broché, illustrations.
Reference : 6403
Entretien avec Karel Appel. [6403]
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5 book(s) with the same title
Emblematic Paintings from Sweden's Age of Greatness Nils Bielke and the Neo-Stoic Gallery at Skokloster,
Turnhout, Brepols, 2005 Hardback, XVI+280 p., 72 b/w ill., 160 x 240 mm. ISBN 9782503523644.
Emblematic Paintings of the Swedish Baroque is the first full-length study of the cycle of emblematic canvases hanging in the corridors at Skokloster Castle outside Stockholm. These imposing paintings were commissioned by a wealthy nobleman and cultural patron from Sweden's Age of Greatness and were inspired by images from one of the most important emblem books of the seventeenth century, Otto Vaenius's Emblemata Horatiana. The principal importance of the Skokloster paintings lies in the fact that they appear to be a unique instance of paintings wholly adapted from images in a printed emblem book, a phenomenon never previously recorded in emblem studies. As such, they prompt questions about the place of the emblem within the fine and applied arts, generic issues explored in some detail in the introductory essay. The study presents a detailed reconstruction of the paintings' place within a lost decorative milieu at the Uppland castle of Salsta, and offers interpretations of the role emblems played within its wider conceptive framework. The appeal of Vaenius to the commissioning patron is also examined, and through this, a broader consideration of the reception of literary emblematics in seventeenth-century Sweden. This marks a significant attempt at opening up the rich subject of the emblem in Sweden, a national tradition hitherto largely neglected and little understood within emblem studies. Emblematic Paintings of the Swedish Baroque is the result of extensive field and archival research in major public and private collections in Sweden, and documents a historically significant group of artworks little known outside Scandinavia. The introductory essay presents the necessary groundwork of the pictures' date, provenance, and probable circumstances of commission, as well as an extended reconstruction of the original context in which they were first displayed. Establishing that they were originally owned by Count Nils Bielke, the study examines the intellectual preoccupations of a Swedish nobleman, and the reasons he found the Neo-Stoic ideas promoted in Vaenius's emblems conducive to his interests and tastes. The study situates the Skokloster paintings within the intellectual framework of Great Power Sweden, conceiving of the pictures as attempts at private self-representation, but concomitantly aesthetic expressions of the nationalist-mytholopoeic movement promoted by the scholars Olof Rudbeck, Johan Peringskiold, and Urban Hjarne. This volume presents the paintings as an emblem text, reassembling the paintings in the order in which they occur in Vaenius, and providing each with a commentary on iconography, sources, and analogues. Each plate is accompanied by a moralizing gloss by the seventeenth-century French author and editor of Vaenius, Marin Le Roy, Sieur de Gomberville in the translation of Thomas Mannington Gibbs. Languages : English, Latin.
Joan Mir Paintings, Catalogue Raisonn (6 vols. complet) *The catalog raisonn of Mir 's paintings consists of the following six volumes:
, Galerie Lelong & Co., 2010 hardcovers, dusjackets,1716 pages, 6 vols. Illustrations col. & bw ill. Text; English, *NEW!!!! .
The catalog raisonn of Mir 's paintings consists of the following six volumes:; Mir Paintings I. 1908-1930 Jacques Dupin (Hrsg). Galerie Lelong. Englisch. 256 Seiten, ills. 26 x 33 cm. Leinen mit Schutzumschlag. 9782868820310 Mir Paintings II. 1931-1941 Jacques Dupin (Hrsg). Galerie Lelong. Englisch. 268 Seiten. 26 x 33 cm. Leinen mit Schutzumschlag. 9782868820372 Mir Paintings III. 1942-1955 Jacques Dupin (Hrsg). Galerie Lelong. Englisch. 368 Seiten. 26 x 33 cm. Leinen mit Schutzumschlag. 9782868820495 Mir Paintings IV. 1959-1968 Jacques Dupin (Hrsg). Galerie Lelong. Englisch. 274 Seiten. 26 x 33 cm. Leinen mit Schutzumschlag. 9782868820563 Mir Paintings V. 1969-1975 Jacques Dupin (Hrsg). Galerie Lelong. Englisch. 278 Seiten. 26 x 33 cm. Leinen mit Schutzumschlag. 9782868820624 Mir Paintings VI. 1976-1981 Jacques Dupin (Hrsg). Galerie Lelong. Englisch. 272 Seiten, ills. 26 x 33 cm. Leinen mit Schutzumschlag. 9782868820679
Mapping Markets for Paintings in Europe, 1450-1750
, Brepols, 2006 XIV 458 p., 27 b/w ill., 178 x 254 mm, Languages: English, Paperback. ISBN 9782503518305.
Over the course of the fifteenth century easel paintings edged out tapestries, frescoes and wood inlay pictures on the walls of private dwellings. Millions of such paintings were produced in the period 1450-1800, in all shapes and sizes, and across the whole range of prices. Who bought them? How were they distributed? What place did they occupy among other "luxury" possessions? Such questions seem to require that visual culture be treated as an integral part of family spending and commercial pursuits. This volume is the outcome of a four-year collaboration between art historians, economists, social historians and museum professionals from the US, Australia and Europe; its aim was to map the new ground identified by these and related questions, in local contexts, but with comparative and longitudinal concerns constantly in mind. The result is an entirely new matrix of the business and artistic interactions through which visual cultures in early modern Europe were formed. The editors, Neil De Marchi and Hans J. Van Miegroet, an economist and an art historian, have collaborated across their disciplines for ten years. Here they have interspersed participants' essays with brief connecting observations, to produce a text that respects disciplinary expertise while making connections across locations and across time. Much has been written about European paintings; but how markets in paintings emerged, who they served, what roles and institutions were developed that enabled them to function effectively, and how exchange affected visual preferences, have not been studied in such a deliberately wide-angled, comparative way. Mapping Markets is not only a book about paintings, but a compendium of cross-disciplinary methods and insights. It charts the state of research in this trans-disciplinary field, identifies gaps, and poses questions for scholars and students wishing to pursue further the issues raised here.
Tom Blackwell : The Complete Paintings, 1970-2014
, The Artist Book Foundation, 2016 Hardcover, 240 pages, ENG. edition, 315 x 290 x 27 mm, As Good As New !, illustrated dustjacket, 291 color plates / 11 b/w illustrations, with foldable pages !. ISBN 9780988855779.
Tom Blackwell's emotionally and visually provocative work is brought together in this beautiful collection, beginning from 1970 to his most recent works This compilation documents his creative process, with his vivid motorcycle paintings offering an insight into Blackwell's vibrant and engaging style Tom Blackwell is primarily known for his work in Photorealism, a stylistic movement noted for its ardent embrace of photographic source material. In 1969, he began a series of brashly beautiful motorcycle paintings that established him as one of the founders and foremost artists of the movement. In conjunction with his Photorealist paintings, Blackwell has produced a related body of work that is allegorical in its perspective. Combining photo-derived images, he addresses themes such as the passage of time, the fragility of nature, and the continuity that weaves through human history. The paintings, rich in symbolism and interpretive possibilities, fascinate and impress viewers with the breadth of Blackwell's abilities. Blackwell, born in Chicago in 1938, has deftly captured the vibrancy and visual excitement of urban street life for the past four decades and has had solo exhibitions across the United States and abroad. Tom Blackwell: The Complete Paintings, 1970-2014 is a comprehensive study of the artist's work as well as his artistic development and process, and includes a compilation of his early paintings through to his most recent works
THE PAINTINGS OF HENDRICK GOLTZIUS (1558 - 1617) A Monograph and Catalogue Raisonne.
, Davaco, 2013 Cloth bound with dust jacket, 4to. 466 pp. text, 207 plates and ills. (145 in colour). NEW. ISBN 9789070288281.
This long-awaited volume is a comprehensive study of the paintings of Hendrick Goltzius (1558-1617), the most important artist in the Netherlands at the turn of the seventeenth century. A poem published in Haarlem in 1617 lamented the death that year of the most artful master Hendrick Goltzius, in his life [a] skillful painter, draftsman, and artful engraver. The fact that "painter" heads the list of his accomplishments is significant, for although Goltzius enjoyed international fame as a draughtsman and engraver, to his contemporaries he was equally renowned for his skill in the art of painting, which was considered the highest artistic calling. This volume on his paintings, the first since Hirschmann's short study of 1916, finally completes a full assessment of this artist of Haarlem, whose drawings were the subject of Reznicek's publication of 1961 and whose prints were catalogued by Leesberg in the New Hollstein series that appeared in 2012. Goltzius abandoned his engraver's burin and turned to painting in the year 1600. Exploring the new medium, he worked on small coppers, as well as large canvases and panels. Goltzius's determination to work in oil, after acquiring international fame as a printmaker, was a deliberate decision to embrace an even greater challenge and to seek greater recognition for his artistry. Although archival records show that Goltzius painted more portraits than has previously been assumed, it was the depiction of the human nude that was his primary goal. He mostly chose to paint biblical and mythological themes: the same subject matter, in fact, that he had treated in his engraved histories. The difference, however, was that Goltzius now began to paint figures that were nearly life-size. His manner of depicting figures may be considered an extension of what he had learned during his stay in Rome (1590-91) and subsequently pursued in his prints of the 1590s. Only rarely are traces of his Spranger-inspired, anti-classical past encountered in his paintings. Instead, Goltzius strove with his brush to portray human forms at once idealized and naturalistic. His points of departure were antique Roman sculpture, the sixteenth-century masters - Michelangelo, Raphael, Titian, Veronese, Durer, and Van Heemskerck - and Rubens, his contemporary. Four chapters are dedicated to a consideration of the reasons for Goltzius's conversion to painting, his biography in the years 1600 to 1617, an examination of the style and iconography of his works in oil, and a thorough review of the critical appraisal of his paintings from his day to the present. The extensive catalogue discusses 59 paintings by Goltzius, and also includes 160 pictures known only from descriptions and 38 rejected works. A lengthy appendix - the result of extensive archival research - includes, in the original language, all known sources that mention Goltzius and every known inventory listing of his paintings.The catalogue of accepted works is ordered iconographically, whereas the color plates of Goltzius's entire extant oeuvre are arranged in chronological order, visually demonstrating the development of his career as a painter. In addition to the color plates, 121 black-and-white figures provide material for comparison. A complete bibliography and three indexes enhance the accessibility and usefulness of this volume.
