Renaissance And Modern Art

This handsomely illustrated volume traces the intersections of art history and paintings restoration in nineteenth-century Europe. Repairing works of art and writing about them—the practices that became art conservation and art history—share a common ancestry. By the nineteenth century the two fields had become inseparably linked. While the art historical scholarship of this period has been widely studied, its restoration practices have received less scrutiny—until now. This book charts the intersections between art history and conservation in the treatment of Italian Renaissance paintings in nineteenth-century Europe. Initial chapters discuss the restoration of works by Giotto and Titian framed by the contemporary scholarship of art historians such as Jacob Burckhardt, G. B. Cavalcaselle, and Joseph Crowe that was redefining the earlier age. Subsequent chapters recount how paintings conservation was integrated into museum settings. The narrative uses period texts, unpublished archival materials, and historical photographs in probing how paintings looked at a time when scholars were writing the foundational texts of art history, and how contemporary restorers were negotiating the appearances of these works. The book proposes a model for a new conservation history, object-focused yet enriched by consideration of a wider cultural horizon.

From the Renaissance to the Baroque, from the Impressionists to the Surrealists, this book covers the range of popular Western art from the early medieval period. It is intended for the art lovers.

The creativity of the human mind was brilliantly displayed during the Florentine Renaissance when artists, mathematicians, astronomers, apothecaries, architects, and others embraced the interconnectedness of their disciplines. Artists used mathematical perspective in painting and scientific techniques to create new materials; hospitals used art to invigorate the soul; apothecaries prepared and dispensed, often from the same plants, both medicinals for patients and pigments for painters; utilitarian glassware and maps became objects to be admired for their beauty; art enhanced depictions of scientific observations; and innovations in construction made buildings canvases for artistic grandeur. An exploration of these and other intersections of art and science deepens our appreciation of the magnificent contributions of the extraordinary Florentines.

Learning about art through the ages has never been as interesting or fun as in this humorous and very informative graphic novel. As two kids give their grandpa a tour of Paris, he starts an interesting conversation with them--about where all the art they see in their lives--from the movie house to the stadiums to museums and even the subway-- started. Dad's impromptu history lesson goes back to the first Cavemen drawings to the pyramids of Giza, and by the end of the book includes Greco-Roman feats of ingenuity and the frescoes of the Renaissance. Recounted as a narrative about why different civilizations created different kinds of art, centuries of art history are explored entertainingly for young readers. Iconic works, such as Donatello's David and The Book of Kells, are included as well as architectural feats like the Colosseum. Written by a tour guide for museums and historic landmarks, the text is designed to entertain (with many funny asides and jokes) as it informs. The illustrations accurately portray the art and the artists described, with flavor and humor added to keep readers turning the page. Reproductions of the featured artworks and information about each piece are included in the back, along with a glossary of terms.

This handsomely illustrated volume traces the intersections of art history and paintings restoration in nineteenth-century Europe. Repairing works of art and writing about them—the practices that became art conservation and art history—share a common ancestry. By the nineteenth century the two fields had become inseparably linked. While the art historical scholarship of this period has been widely studied, its restoration practices have received less scrutiny—until now. This book charts the intersections between art history and conservation in the treatment of Italian Renaissance paintings in nineteenth-century Europe. Initial chapters discuss the restoration of works by Giotto and Titian framed by the contemporary scholarship of art historians such as Jacob Burckhardt, G. B. Cavalcaselle, and Joseph Crowe that was redefining the earlier age. Subsequent chapters recount how paintings conservation was integrated into museum settings. The narrative uses period texts, unpublished archival materials, and historical photographs in probing how paintings looked at a time when scholars were writing the foundational texts of art history, and how contemporary restorers were negotiating the appearances of these works. The book proposes a model for a new conservation history, object-focused yet enriched by consideration of a wider cultural horizon.