This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of 'sacred portrait' also produced during late antiquity, namely Roman imperial portraiture, Graeco-Egyptian funerary portraiture and panel paintings depicting non-Christian deities.
This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of 'sacred portrait' also produced during late antiquity, namely Roman imperial portraiture, Graeco-Egyptian funerary portraiture and panel paintings depicting non-Christian deities.
This book explores the cultural exchange between Italy and Spain in the seventeenth century, examining Spanish collectors' predilection for Italian painting and its influence on Spanish painters.
This book explores the cultural exchange between Italy and Spain in the seventeenth century, examining Spanish collectors' predilection for Italian painting and its influence on Spanish painters.
Based on hitherto overlooked archival material, this book reveals Nell Walden's significant impact on the Sturm organisation through a feminist reading of supportive labour that highlights the centrality of collaborative work within the modern art world.
Based on hitherto overlooked archival material, this book reveals Nell Walden's significant impact on the Sturm organisation through a feminist reading of supportive labour that highlights the centrality of collaborative work within the modern art world.
Originally published in 1952, the first part of this book gives a portrait of Akbar (1542-1605), Emperor of India, not as a War Lord and Empire Builder, but as a man deeply absorbed in questions of the Spirit.
Originally published in 1952, the first part of this book gives a portrait of Akbar (1542-1605), Emperor of India, not as a War Lord and Empire Builder, but as a man deeply absorbed in questions of the Spirit.
This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effectiveness of digital media in opening the field to new audiences.
This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effectiveness of digital media in opening the field to new audiences.
Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists-Tommaso Minardi, Francesco Hayez, and Gioacchino Toma-from three distinct regions in Italy prior to, during, and directly following political unification in 1861.
Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists-Tommaso Minardi, Francesco Hayez, and Gioacchino Toma-from three distinct regions in Italy prior to, during, and directly following political unification in 1861.
This book examines the agrarian labor genre paintings based on the Pictures of Tilling and Weaving that were commissioned by successive Chinese emperors.
This book examines the agrarian labor genre paintings based on the Pictures of Tilling and Weaving that were commissioned by successive Chinese emperors.
This book examines the portrayal of themes of boundary crossing, itinerancy, relocation, and displacement in US genre paintings during the second half of the long nineteenth century (c.
This book examines the portrayal of themes of boundary crossing, itinerancy, relocation, and displacement in US genre paintings during the second half of the long nineteenth century (c.
This book examines Theodore Gericault's images of black men, women and children who suffered slavery's trans-Atlantic passage in the late eighteenth and early nineteenth centuries, including his 1819 painting The Raft of the Medusa.
This book examines Theodore Gericault's images of black men, women and children who suffered slavery's trans-Atlantic passage in the late eighteenth and early nineteenth centuries, including his 1819 painting The Raft of the Medusa.
The dominant form of Ottoman pictorial art until the eighteenth century, miniatures have traditionally been studied as reflecting the socio-historical contexts, aesthetic concerns and artistic tastes of the era within which they were produced.
The dominant form of Ottoman pictorial art until the eighteenth century, miniatures have traditionally been studied as reflecting the socio-historical contexts, aesthetic concerns and artistic tastes of the era within which they were produced.
Through the eyes of a creative genius, Journey into Barbary is both an inimitable portrait of Morocco and one of the first truly modern accounts of a country that had for so long remained an enigma to generations of travellers.
This extraordinary examination of the work of 'colour field' painter Helen Frankenthaler overturns assumptions about the artist, whose work has been burdened by its label as 'the bridge between Pollock and what was possible'.
"e;One of contemporary fiction's most gifted sentence builders"e; Beejay Silcox, GuardianBehind the ornate doors of 30, rue du M tal in Brussels, twenty students begin their apprenticeship in the art of decorative painting - that art of tricksters and counterfeiters, where each knot in a plank of wood hides a secret and every vein in a slab of marble tells a story.
