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FINBERG (Alexander J.). CAMERON
The Paintings of D.Y.
London, Paris, New-York The Studio 1919 1 in-4 Cameron. London, Paris, New-York, The Studio, 1919, in-4 à l'italienne, broché, couverture grise.
Reference : 4934
Texte en anglais accompagnant huit reproductions de peintures de CAMERON. Quelques rares piq. éparses, us. à la couv..
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5 book(s) with the same title
Cy Twombly: Catalogue Raisonn of the Paintings. Volumes I-VII / Cy Twombly : Catalogue Raisonne Der Gemalde 7 volumes I-VII
, Schirmer / Mosel, 2018 7 volumes, linnen binding under illustrated dustjacket, 31 x 28 cm, text in English / German. *Fine condition ISBN 9783829608053.
Seven volumes, up to volume VII. Cy Twombly Catalogue Raisonn of the Paintings Volume VII: Addendum is the final volume of the catalogues raisonn s of paintings and includes both unfinished paintings and lost works. Heiner Bastian?s introductory essay includes recollections of conversations between the author and the artist. In this final reflection on Twombly?s practice in the series, Bastian suggests ?recognizing poetic landscapes gleaned from the heartbeat of Apollonian and Dionysian forms of existence? (18). He also draws on Roland Barthes?s famous essay about the artist, ?The Wisdom of Art,? and his concluding remarks have an overtly Hegelian inflection. The unfinished paintings will be among the most interesting inclusions for scholars researching the artist?s working practice and should be considered in dialogue with the unfinished and rejected sculptures recorded in Cy Twombly Catalogue Raisonn of Sculpture Vol. II (2019). Many of the other entries catalogue lost works or works that were presumed to be lost in earlier catalogues raisonn s but subsequently recovered (e.g., Desert of Love [1959], notated as whereabouts unknown in Vol. IV but as in the collection of the Cy Twombly Foundation in Vol. VII). The volume will be of interest to scholars working on any period of the artist?s practice, as the entries range from the 1950s to the end of the artist?s life in 2011. Direct connections to thematic concerns present in earlier volumes are abundant throughout, including in the recurrence of themes such as 10 Days Wait at Mugda (1963) and Death in Naples (1963). Other notable inclusions are a new left panel for Ilium (One Morning Ten Years Later) completed in 2000, additional ?blackboard? paintings, additional Green Paintings, and paintings conceived as Japanese screens. There are also many additional iterations of the large, loose swirls that characterize Twombly?s Bacchus works and other late paintings. Within the section of unfinished works, many relate to his floral cycles or his recurrent boat motif. There is also a notable abandoned canvas for Coronation of Sesostris (2000). As scholars referencing this volume of the catalogue raisonn will likely have a focus on the artist?s working practice, further relevant literature includes Cy Twombly: Homes and Studios (2020) and Kate Nesin?s Cy Twombly?s Things (2014); though the latter addresses the sculptures rather than the paintings, it remains a uniquely sustained consideration of the material concerns of Twombly?s studio practice and addresses connections to his painting practice throughout. Other texts with a similar comprehensive focus may also be useful; see e.g., Writings on Cy Twombly, ed. Nicola Del Roscio (2002) and The Essential Cy Twombly, ed. Nicola Del Roscio (2014). (Publication description by Jamie Danis)
Cy Twombly: Catalogue Raisonn of the Paintings. Volumes I-VI / Cy Twombly : Catalogue Raisonne Der Gemalde 6 volumes I-VI
, Schirmer / Mosel, 2014 6 volumes, linnen binding under illustrated dustjacket, 31 x 28 cm, text in English / German. *Fine condition ISBN 9783829608053.
Six volumes, up to volume VI. Cy Twombly Catalogue Raisonn of the Paintings Volume VI covers the final years of the artist?s life, from 2008 to 2011. Bastian?s introductory essay reflects more broadly on motifs and recurrent concerns throughout the artist?s practice rather than focusing heavily on individual artworks or cycles, as previous introductory essays do. Bastian meditates in particular on the sea and its many appearances and instantiations in Twombly?s oeuvre; he returns, as he does consistently throughout his catalogue raisonn introductions, to the work of St phane Mallarm , reflecting on what Twombly called the ?white, white, white? of the Mediterranean. Bastian offers extended reflections on Twombly?s late monumental sequence The Rose (2008) and Camino Real (2011), a series which shares the vibrant hues and Bacchic form of his final paintings. The volume includes more of Twombly?s Bacchus paintings, as well as his formally similar untitled blue iterations, completed in Lexington; scholars focused on the Bacchus series will need to consult volumes IV and V as well, as the longer diachronic span of the series results in appearance in multiple volumes. The Rose is accompanied by Blooming (2001?2008), and use of poetry such as that of Rainer Maria Rilke is prevalent throughout. Twombly?s Leaving Paphos Ringed With Waves works (2008) are also included here. Relevant literature relating to these final works includes Cy Twombly: Homes and Studios, ed. Nicola del Roscio (2020), which will be of interest for its documentation of Twombly?s working practice; many of the photographs reproduced document the production of these late paintings. For Leaving Paphos Ringed with Waves, see Cy Twombly: Making Past Present, ed. Chistine Kondoleon and Kate Nesin (2020) and the eponymous Gagosian catalogue (2009), with essays by Demosthenes Davvetas and Mary Jacobus. For the Bacchus series (present in cat. rais. volumes V, VI, and VII), see the eponymous Gagosian catalogue (2005), Gary Astrachan?s Naming the Gods: Cy Twombly's Passionate Poiesis (2020), and Dominique Baqu ?s Cy Twombly: Sous le signe d?Apollon et de Dionysos (2016). For The Rose, see the eponymous Gagosian catalogue (2009), Mary Jacobus?s Reading Cy Twombly: Poetry in Paint (2016), and Baqu ?s Sous le signe. Thierry Greub?s Inscriptions (2022) and (ed.) Cy Twombly: Image, Text, Paratext (2017) are also useful for tracking literary references.
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.
The paintings of Titian. I. The Religious Paintings
Wethey, Harold E.: The paintings of Titian. I. The Religious Paintings. London: Phaidon, 1969. 390pp with 1 colour plate and 238 monochrome illustrations. Cloth. 31x23.5cms. First volume of the catalogue raisonnÃ. With biography, bibliography and critical catalogue of the artist's religious paintings including lost, attributed and wrongly attributed works.
First volume of the catalogue raisonnÃ. With biography, bibliography and critical catalogue of the artist's religious paintings including lost, attributed and wrongly attributed works. Text in English
Caspar Netscher and late seventeenth-century Dutch painting / catalogue raisonn of the paintings
, Aetas Aurea, Vol. XVI , Cloth bound with dusjacket, as new !!, 2002. 4to., 542 pp. text, 378 ill. (33 full-page colourplts). ISBN 9070288370.
Caspar Netscher (1635/6-1684) was one of the most acomplished and successful artists active in the Netherlands during the latter part of the seventeenth century. Paradoxically, however, the same factors that made him so successful during his lifetime and into the eighteenth century also occasioned his exclusion from the modern canon of seventeenth-century Dutch painting, for his art represents a decisive move away from the hearty egalitarian aesthetic that prevailed during the earlier part of the century. Responding to (and helping define) his patrons' desire for international style and sophistication, Netscher's exquisite portraits and subject pieces are unmistakably Dutch, yet are imbued with an elegance more in keeping with progressive pan-European tastes.This is the first full-length study to examine the work of this important Dutch artist The text is complemented by an appendix of documents relevant to the artist (most previously unpublished), and concludes with an exhaustive catalogue raisonne of the paintings. The latter contains detailed information on 220 accepted paintings by the artist, 44 problematic attributions (including some compositions known only through copies and works that involve a significant amount of studio assistance); 470 rejected works; and 388 paintings mentioned in the literature prior to 1800 but presently untraced.
